Avaliações do Metacritic

Director Nicholas Hytner doesn't soften or cosmeticize Miller's tale -- it's often uncomfortable to watch -- and he draws an emotional pitch from his actors that helps us understand the mob fury and irrational fear that make a situation like the one in Salem possible.

As vividly imagined as The Crucible is, it’s up to the actors to animate the stern Puritan cadences of Miller’s dialogue. They bring it off spectacularly.

In this almost perfect screen adaptation, the lingering question is the most important one: what caused such madness?

Handsome and impassioned, vigorously staged by the director of ''The Madness of King George,'' this ''Crucible'' is a reminder of the play's wide reach, which goes well beyond witch trials in any century. As adapted gamely by the playwright into a screenplay that takes advantage of scenic backgrounds and photogenic stars, ''The Crucible'' now speaks to subtler forms of dishonesty and opportunism than it did before.

The Crucible, despite some damaging cuts to the text, is a seductively exciting film that crackles with visual energy, passionate provocation and incendiary acting.

The ironies of the piece, adapted by Arthur Miller from his own 1953 play on the perils of McCarthyism, are savage and well served by a top-notch cast perfectly attuned to the poetry of the dialogue and the parable's fiery passions. Hytner holds the action together with solid, unflashy, well-paced direction, ensuring that this is no mere period piece but a compelling, pertinent account of human fear, frailty and cold ambition.

Joan Allen -- playing goody-two-shoes Elizabeth Proctor -- is the standout: She gives Proctor both spine and a desperate, late-blooming awareness that her own unyielding righteousness has helped bring about her family's destruction. Her performance is so true it's almost painful.

In the end, the movie reaffirms the importance of standing up for truth, and not betraying one's friends - the two most obvious morals at hand, though behavior no one could take for granted during the Communist-baiting "witch hunts" of the 1950s that Miller lived through. Too bad, though, that The Crucible fails to probe deeper into the sexual, religious, and political conditions that can give false accusations so much power - even today.

The Crucible is a drama of ideas, but they seem laid on top of the material, not organically part of it.

In this context, The Crucible very much becomes a story about a love affair gone bad and a young, solitary girl who uses the situation to advance her position in society and wreak her vengeance. Surrounded by some phenomenal acting performances (notably Day-Lewis, Joan Allen as the wronged wife, and the always welcome Paul Scofield in the unenviable position of judge and jury), the weaknesses in Ryder's technique become more blatant.