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'.

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!

Almost a century after it was made, this did play in Berlin at the International Festival. Did it look a bit dated? You bet it did. From the film itself, its plot up to the acting (there are scenes in it, that are almost comical, because it's obvious that the actor is trying to fool the viewer into thinking an accident is happening).

This still has an impact though, which comes down to its story and the fact that the characters do have more than one dimension. Clichés can not be avoided, but that could not be otherwise especially because back then they weren't considered clichés (not that many movies to make things that obvious that is). The moral tale is a nice one, the overacting might throw you off a bit, but overall this is a fine example of what good movies looked "back in the day" ...

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.