A Donzela de Salem

The film takes place in the village of Salem, Massachusetts during the famous witch trials of 1692. I have just seen Bonita Granville in a comedy from 1937 ("It's love I'm After") in which she plays an annoying brat of a child. Here she goes a step further and turns evil! She starts the ball rolling as she accuses a black servant Madame Sul-Te-Wan (Tituba) of being a witch in revenge for having a book that she had stolen from her strict father about witchcraft confiscated. Hysteria takes over and so-called witches are hung. Set against this, we have a romance being played out between Claudette Colbert (Barbara) and Fred MacMurray (Roger) who puts on a dodgy Irish accent. We soon have the finger of accusation pointed at Colbert...

It is staggering that this situation was allowed to develop. And all because of religious intolerance. It is also mind-blowing to think that all of this is also partly down to adults believing children. Even today, children are given precedence over adults in everything we do - entertainment at fetes is usually centred around children's activities (nothing for adults to do), pubs put up bouncy castles so they can be child-friendly (how about having no children and being adult-friendly), schools no longer have any discipline over kids and are not allowed to hit them anymore and police can't do anything but soak it up if a kid taunts them. We need to develop a society that looks after its adults first. Then, when children grow up, they can have the respect due them.

We must avoid the path where society adopts a child's word as sacrosanct. We are already allowing laws whereby they can change their gender at a very young age. What a load of nonsense. We are only a step away from the Salem Witch Trials part 2. "Children should be seen not heard" - that was the oft used quote when I was younger. Quite right.

If you haven't seen Maid of Salem, then you haven't seen a good motion picture. Simple as that.

It's not because the story has never been done before-- stories about witches have been done countless times by Hollywood over the years. Nor is it going to challenge the average viewer very much-- though it does cause one to stop and consider what happens when a community of people act like an angry mob and try to cling to superstitious beliefs that defy logic.

Rather, it is because of the powerful performance at the center of this film. Claudette Colbert, as the title character, infuses the story with heart and conviction. Check out the courtroom scene near the end of this picture to see what I mean.

The only real drawback is that Fred MacMurray seems slightly miscast here, and the film may have been stronger with Fredric March or someone else in the male lead. But Colbert and MacMurray's chemistry more than makes up for any deficiency.

It is a very chilling account of a woman denied her own basic rights and suspected of the worst in human nature. Don't miss it.

A splendid cast, well-crafted set pieces and a strong theme work in this film's favor. The legendary witchcraft hysteria that gripped the Massachusetts Bay Colony in 1692 is given the conventional Hollywood studio adaptation – that is, reconstructed to fit around a romantic love story – but done so well within the studio strictures that it can still hold the interest decades later. The lovers here are the oft-paired screen team of Claudette Colbert and Fred MacMurray. At first they seem miscast as a Puritan maiden and a lusty political rebel but they both handle their roles with conviction and spirit.

Director Frank Lloyd, no stranger to period dramas (he also directed MUTINY ON THE BOUNTY and BERKELEY SQUARE) and his frequent collaborator, screenwriter Bradley King, tell a good and gripping tale of rumors run amok, when scheming child Bonita Granville decides to get attention and sympathy by pretending to be possessed by the devil, setting in motion a chain of accusations that eventually sends fifteen people to the gallows. The supporting cast is one of the most impressive ever assembled for a standard Hollywood production. What a roster! Louise Dresser, Henry Kolker, Sterling Holloway, Beulah Bondi, Donald Meek, Madame Sul-te-wan (powerfully effective as Tituba, the West Indian slave accused of bewitching her mistress's family), Gale Sondergaard, Effie Tilbury, and a trio of exceptional – or exceptionally well directed - child actors (Granville, Virginia Weidler, Benny Bartlett). And that's only about half of the fine ensemble on display.

Colbert's 20th-century-urban eye makeup (lipstick, plucked brows, mascara-coated lashes, eye shadow), while far less intense than usual, is still somewhat distracting but at least gets toned at an appropriate point in the scenario, and she has a hot-blooded courtroom scene which again proves how deftly she can hit the ball out of the park when necessary. For the record, Gale Sondergaard's face is also cosmetically enhanced but we don't see nearly as much of her, so she doesn't stand out.

The struggle dramatized herein between superstition and emotion vs. evidence and reason is ongoing. The real story of the Salem trials is of course far more complicated than what is presented here. Let's say that MAID OF SALEM gives a strong suggestion of what really went on and would be good encouragement for further study.

As studio policy went at Paramount controversial subjects were usually shied away from. So when Maid Of Salem came out this was a big surprise for the movie-going public and those who review films back in 1937.

Arthur Miller's The Crucible has become the defining work about the Salem Witch Trials in 1692, but Maid Of Salem should not be readily dismissed by Miller's admirers.

Claudette Colbert is in the title role and Fred MacMurray who is a refugee from Virginia colony star in this film. In fact MacMurray's very presence inadvertently ticks off fear of witches and demons and goblins and all kinds of things that go bump in the night. He puts on a spook act that scares some gullible Puritans after they've been given the word of warning about witches.

But the real demons are in one's own mind and in the evil intent of those who use fear of same. That in this film is Bonita Granville who is playing the same kind of role she did in her breakthrough part in These Three.

Lest you think that Maid Of Salem is an unrelenting drama, there are two very nice comic roles. First from E.E. Clive who is a drinker and unashamed of his vice and who goes obligingly off to the stocks like Andy Griffith used to let town drunk Otis lock himself in the jail cell every night. Secondly is Sterling Holloway a person of some property who just can't understand why Claudette Colbert should be less than enthusiastic about getting such a catch.

The performance of Madame Sul-Te-Wan should also be singled out. Back in this day most of the northern colonies also permitted slavery and she does a superb job as a woman who basically because she's not forgotten her African roots yet, still going by a tribal name she becomes an easy first target when she's accused.

Frank Lloyd got good if under-appreciated work from his whole cast. This film ought to be better known for today's audiences.

This is not one of Claudette Colbert's more famous films, though it deserves more attention. It's an excellent retelling of the Salem Witch Trials and does a reasonably good job of explaining both how the hysteria began and the evil attitudes of those in charge that allowed for the hangings. Both Colbert and co-star Fred MacMurray do a great job with the excellent and intelligently written script. The movie would be a good film to explain the hysteria to kids but is entertaining enough that most should enjoy the film. In fact, apart from people with VERY SHORT attention-spans, I can't see how anyone could not enjoy the film.