Dangereuses sont les nuits claires

I enjoyed this a lot. Not quite what I expected, less English Gothic, more Scandinavian menace. Rather creepy due to the rather unnerving but beguiling performance from Mirja Mane as the 'witch'. Naked or almost naked throughout (and this is 1952!) she completely dominates the screen and is only matched by those big skies above the sinister swamps. At first things seem a little stilted with characters moving almost as if in a silent movie and the dialogue takes some getting used to (although that may be the new translation) but once the naked bundle of Ms Mane is carried from her grave things really bubble. The women hate her and the men are totally beguiled or should I say bewitched! Much reference to the beast in man and all women being witches alluding as much to the then post war state of Finnish sensibilities as to any philosophical insight. Also much reference to dream and nightmare allowing for some measure of interpretation as we witness the men going crazy over the voluptuous seductress who will kiss and bite and disrobe at will and the women who get crazy at their men folk. A delight then, but not without a certain edge.

It's comforting, in a way, to know that in an era when genre fare out of the United States and the United Kingdom commonly fell on the lighter side of the spectrum, these industries were not alone in arguably failing to strike a tone commensurate with the material. Though the matter here is maybe not so severe as we've seen in countless more well-known instances, there's definite levity in many scenes (if not outright ham-handedness), bolstered by what one might say is an overly dramatic score, a surfeit of dialogue, and a comparative lack of specific visualization early on. Just as concerning, if not more so, is the overly swift pacing that requires one to be actively engaged with the viewing experience or else quickly get left behind; even more substantively, as the length advances dialogue and scene writing trade at least as heavily on discussion of dynamics between men and women as they do on witches and local legends. Finally, a little after the one-quarter mark, the plot meaningfully picks up as the key character enters the narrative. Of course, 'Noita palaa elämään' ('The witch returns to life') maintains those same frivolous airs, and the traits that first caught our attention in the first twenty minutes prove to be enduring facets of these eighty minutes; this is not the type of genre piece to take itself seriously, or to earnestly evoke feelings. Be that as it may the story is mostly enchanting and entertaining, and there remain more significant flavors of horror to come out in the telling beyond the simple fact of the subject matter. A must-see this is not, but despite distinct issues it's worthwhile on its own merits.

One will certainly observe that this is a saga as much of superstition, misperception and misunderstanding, coincidence, and pure ignorance as it is one of black magic, dark powers, and resurrection. Despite the tenor of the production there is a well-written, deserving story underneath the frivolities, one of obsession and madness, and one of what a person might bring out in those around them under the right circumstances as much as any discrete activity. It all comes across as a bit of a grab bag, truthfully, and there are unquestionably some facets of the writing that probably should have been left out, or at least significantly rewritten, and others that needed to be tightened. Yet for whatever one might say about the details of the writing and direction, broadly speaking the feature is very well made all around, with an overall compelling and imaginative narrative not least. (After all, if not for that, why would we continue watching?) Those stunts and effects that are employed come off great, and the editing is sharp. Esko Töyri's is wonderfully crisp and vivid, presenting in rich detail all that there is to see, and the photography is genuinely better than one can say of some modern flicks. The filming locations and sets are gorgeous; the costume design, hair, and makeup are all so lovely. The cast give committed, spirited, admirable performances, with Mirja Mane absolutely standing out most once Birgit enters the narrative.

Between Viljo Hela and Kaarlo Nuorvala's screenplay and Roland af Hällström's direction I believe the proceedings are marked with unfortunate brusque, forced heavy-handedness, and the film needed a more nuanced, finessed touch above all else for its best ideas to really be effective. Even at that, though, the results speak for themselves, and 'Noita palaa elämään' is stronger than not despite its flaws. To that point, though, the more one stops to think about it, those flaws are considerable and they stack up. I repeat myself, but we must contend with swift pacing, and brusque and forced writing and direction. It also comes across as struggling with an uneven tone, and all this is to say nothing of the title's use of a storytelling trope that I despise. There actually is a lot to like here, but the viewing experience is an imperfect one, and one that is certainly weighed down by its issues. When all is said and done I do think it's worth watching, and there's no doubt in my mind that it stands taller than many of its contemporaries from anywhere around the globe. One should just be aware in general terms of what they're getting into, and even for all the strength and value this bears it may not be the movie to change the minds of those who have a hard time engaging with mid-century horror. Watch 'Noita palaa elämään,' by all means, and I'm glad for those who enjoy it still more; I can only repeat that I liked it, too. Only, even as I appreciate everything that went into it, and look forward to finding more early Finnish horror, I don't expect I'll ever be in a rush to watch this one again.

Despite its too many sudden dramatic turns, this is a fascinating tale based on a play written by Finnish playwright Mika Waltari. However, the beginning reminded me of the first part of Mario Bava's film, "La maschera del demonio" (1960), when a scientist frees a witch by entering a crypt, breaking the cross that immobilizes her and accidentally giving her his own blood, a passage that is not contained in "Viy", the tale by Nikolai Gogol that inspired Bava's screenwriters.

In «The Witch Returns to Life», a Finnish scientist extracts a stake from the intact body of a witch buried in a swamp 300 years ago, and what follows is a wild tale about the duel between the flesh and the spirit, a classic theme that has inspired many great dramas, in search of catharsis. What lies beneath the story is the oppressive relationship between peasants and landowners, the same that caused a young girl's tragedy, accused of practicing witchcraft.

However, the treatment is often that of an erotic comedy, in which the sexual excitement of all characters predominates. Ultimately, it is not a titillating concession from the writers, but an indicator of what is really happening and what is revealed in the end. Recommended, but keep in mind that you are not going to see the typical witch movie of archaic inspirations (and aspirations).

Made after the Second World War, this film, which would translate to English as 'The Witch returns to life', shows the lack of funding so common in the post-war era in Finland. But yet, to keep people's humor up, the film industry did everything to ease the living of the poor households. The 'horror' part of this film might seem to us now more or less amusing.

The seemingly light subject of the film has underlying social issues: The Second World War had ended just barely seven years ago. The heavy war indemnities forced Finnish industry to boost up its productivity. The agricultural Finland was moving faster and faster towards city-life. Women's rights were still in the developing stage. Especially in the countryside and farms the women were the ones to take care of the household while the men were busy out in the fields to secure the year's crop. 'Unconventially' behaving female was prone to draw negative attention - especially if she was young and attractive. The villager's moods could have easily turned to witch hunt-like persecution.

Mika Waltari (September 19, 1908 – August 26, 1979) is one of the best known writers of Finland. His works have been translated to many languages all over the world. The most famous book is 'Sinuhe - the Egyptian', which made the Bestsellers list in many countries and is translated to 40 languages. 'The Egyptian' - a Hollywood movie was made according to 'Sinuhe' in 1954 (Director Michael Curtiz). The theater play 'Noita palaa elämään' (1947) is one of his 26 plays and was made for film in 1952 - the year Helsinki had the Summer Olympic Games. Altogether 33 books of Waltari have been filmed.

It's intriguing that so many diverse cultures have independently developed legends of the witch: a supernatural female, frequently erotic, with powers usually devoted to evil. Most peasant cultures are nominally ruled by men, but the two great mysteries of life -- birth and death -- are controlled by women. A woman gives birth, aided by midwives, in the absence of men. Women prepare a corpse for its journey to the afterworld. It may well be that the power of the witch is merely male fear of women's secrets, women's wisdom, women's sexuality.

'Noita palaa elämään', which I translate (probably incorrectly) as 'The Witch Must Burn', is a fascinating Finnish version of the witch legend. I was surprised that this film is adapted from a stage play, as it features clever use of multiple locations and exteriors. There's nothing stage-bound here.

Hannu and his pretty blonde wife Greta are young archaeologists excavating a grave on the estate of Baron Hallberg. (I cringed at their excavation technique, which involves removing earth as rapidly as possible, in large quantities.) They seem to be working under the patronage of the baron's son Veikko, rather than the baron himself. One of the diggers uncovers the grave of a witch who was buried 300 years ago at the behest of one of the baron's ancestors. The archaeologists remove the witch's remains, including the surviving scraps of her garments and a leather pouch. Working from these scraps, Greta tries to reconstruct the witch's original garments.

Soon, the local peasants find a naked woman in the grave! Mirja Mane gives an astonishing performance as Birgit, the foundling. She dances naked through the Finnish countryside, her limbs contorting at weird angles and her long dark Betty Page hairstyle flying seductively. The peasants are scandalised. (One of the peasants looks amazingly like Rondo Hatton; another one resembles Jane Darwell.) Birgit is welcomed into the baron's castle by Veikko, Hannu and Kauko (a comic-relief portrait painter), and soon she's wearing the witch's dirndl made by Greta.

SPOILERS COMING. There are suspicions that the erotic young Birgit is the ancient witch reborn, but at first these rumours seem to be superstitious misogyny: all of the 'supernatural' acts manifested by Birgit's arrival could be explained rationally. Gradually, though, as she seduces Hannu and Veikko (while causing Greta to begin an affair with Kauko), it becomes clear that Birgit indeed has supernatural powers. The climax of the film is powerful, raw, elemental and erotic ... but not scary. This film has many good points, but it simply isn't eerie enough to be a horror film.

Despite an obtrusive music track, I was deeply impressed with the photography and editing in this film. There are a couple of bad cuts, but several other cuts are made very intelligently (including one reminiscent of Hitchcock's 'Rope'), and an unusual montage sequence without any dissolves. I was especially impressed by two jump cuts when Birgit causes objects to vanish: these jump cuts were filmed outdoors, in daylight against a formation of cumulus clouds ... so the director had to risk that the sun and the clouds might change position between the two camera set-ups either side of the cut. I can't recall that 'Bewitched' or 'I Dream of Jeannie' ever had the guts to do an open-air exterior jump cut. Throughout this film, the Finnish locations emphasise the alien and exotic aspects of the story.

The peasants and servants, alas, are mere stock figures, perhaps more laughable than the filmmakers intended. But all of the primary actors in this film give first-rate performances. As Greta, Hillevi Lagerstam is sexy and flirtatious without ever becoming implausible. In the lead role, Mirja Mane gives an astonishingly physical and erotic performance, reminding me of Hedy Lamarr's famous nude scene in 'Ekstase'.

I strongly recommend 'Noita palaa elämään' as an efficient (and erotic) example of low-budget film-making. The story, direction, editing and performances are excellent. However, if you're looking for a spooky horror film, look elsewhere. This movie, for all its powerful narrative, is NOT scary ... unless you're one of those people who think that the female form, in its naked glory, is something to be afraid of. I'll rate this excellent movie 9 out of 10.