Hævnens nat

Horror film fans must acknowledge a Danish director whom contributed mightily to the themes, look and feel to today's fright movies. Beside his 1922 "Haxan: Witchcraft Through the Ages," cinematic aficionados are unfamiliar with Denmark Benjamin Christensen's body of work, especially his early films. But the actor-turned-film director invented the horror/crime aesthetics in film that is so familiarly seen in modern motion pictures.

As a stage actor, Christensen focused on being a wine salesman before introduced to cinema as an actor in front of the camera in 1911. His resources were great enough that he took control over a small Danish movie production company and personally directed his first film, 1914's "The Mysterious X." Two years later he's directing another "innocent man accused of a crime" movie, September 1916's "Blind Justice." Both films showed a remarkable sophistication in movie-making: his shot composition, camera movement, and ominous shadow lighting created numerous sequences filled with heart-throbbing, knee-buckling tension on the screen. Film historians see Christensen's first two films as one of the most astonishing directorial debuts in movie history.

"Blind Justice" contains one of the first, if not the first fake jump scare sequences on film where viewers are jolted by a sudden movement, only to prove to the audience that everything's just innocent. Check out the 18 minute mark of "Blind Justice" in which Christensen positions his camera looking through a keyhole, then progressing to a silhouetted figure climbing through a window. Later on towards the movie's exciting conclusion, Christensen uses a unique jolting effect where he has the attacker suddenly jump invisibly from the side of the frame onto his victim. This quick appearance of a potential killer is seen in Alfred Hitchcock's 1960 "Pyscho" and John Carpenter's 1978 "Halloween," among in countless of other horror films.

Christensen, who played the wronged-killer in "Blind Justice," saw his work failing to gain an audience in Denmark during World War One, when his two movies were released. He returned to stage acting since it proved more lucrative than producing movies at that time. After the war, he spent three years researching about witchcraft, resulting in his 1922 classic.

A handsome looking but overlong drama stylishly directed by the great Benjamin Christensen and immaculately photographed by cameraman Johan Ankerstjerne, with whom Christensen later collaborated on his celebrated semi-documentary on witchcraft, 'Haxan' (1922).

The action of 'Hævnens Nat' spans 15 years; there's an awful lot going on and the film meanders somewhat before eventually arriving at a superbly lit but preposterous climax in a large elegant house designed by Hjalmar Klæbel in which women get pounced upon, doors broken down, and so on.

The hammiest performance in the film is ironically by Christensen himself as the hard done-by 'Strong Henry'.

The second film directed by the Danish film-maker Herr Benjamin Christensen is the story of a circus acrobat, Strong John, wrongly accused of having committed a murder. When he and his child go looking for shelter in a Villa for the night, Ann, a girl who lives there, tries to help him but finally her good intentions are discovered and Strong John is captured. Thinking that the girl has betrayed him, Strong John swears to take revenge on her, namely, to put it in the ordinary Strong John words: "I'll tie a rope around her neck" As happened with his first film, this German Count is again astonished to see how Herr Christensen has mastered film narrative using innovative and unusual techniques for that time ( "Haevnens Nat" ( Blind Justice ) is a 1916 film production )and camera movements full of cinematic invention ( Strong John spying on Damen Anne through the keyhole ) all in the service of a crime melodrama film. The film has a long running time-100 minutes- but Christensen maintains the suspense and the pace in an extraordinary way. The misfortune of Strong John ( Herr Christensen himself )is as masterfully directed as his earlier film. The film has a number of different locations, but the most important one is the Villa. Herr Christensen uses the scenery in a dynamic way, never falling into the error of making a static oeuvre like the filmed theater that was common in many early productions of that time. The villa is where the story begins and where finally this tragic tale of misunderstandings and misfortunes will be brought to an end.

And now, if you'll allow me, I must temporarily take my leave because this German Count must take a quick look at the Schlöss in order to check that there are not uninvited guests at home.

Hævnens Nat is the second film, that Benjamin Christensen made. His first film Det Hemmelighedsfulde X, had a very innovative camera-style. And Hævnens Nat continues in the same path. The story in this film is even better than in the first one, and its remarkable that Christensen doesn't use a lot of inter titles as in many of other films of that time. The camera movements in this film is, yet again, fabulous, and there is a really nice shot where a camera rolls backwards from a window. In this film we get a lot to know about the persons psychological background, which we did not get anything of in Benjamins first film. Its not a big question why this movie became such a big success back in 1915-1916!

A man is arrested and think it was the woman, who promise to help him, who betrayed him, he escape from the prison and as a bill he must get out of the world. Benjamin Christensen was a master of the silent era. With Carl Th. Dreyer he was the best known danes in the cinema-world, before von Trier.

This suspensor is amazing. A movie who is directed with a touch, as only a master can do it. Especially the way he used the shadows is perfect. A really silent masterpiece. Sad that there are, so few people who have seen it.