Le démon sur la ville

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.

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.

This was one good movie, with none of the melodramatic acting you often get from films in the 1930's, when actors were still adjusting to sound. Considering the dramatic time period when it takes place (the Salem witch trials of 1692), that says a lot for the writers and the actors!

Claudette Colbert should have won an award for this one, especially those trial scenes, when she makes you feel all her character's going through, wanting to prove her innocence and at the same time protect the man she loves (Fred MacMurray, who gives an excellent performance).

You get a real sense of how the witchcraft hysteria takes over, and how people used that fact to their own advantage with so many outrageous accusations. (I wonder if Arthur Miller was influenced by this movie when he wrote his play?)

There are other familiar faces (like Sterling Holloway, Beulah Bondi, Gale Sondergaard, as well as some others) that add to what turns out to be a picture no one should miss!

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.

Solid 30's costume melodrama, certainly an artistic equal to director Frank Lloyd's more famous "Mutiny on the Bounty". Excellent acting from Colbert and, surprisingly, MacMurray (but then he's great in "Double Indemnity" too). Sterling Holloway is wonderful as the spurned suitor, and Madame Sul-Te-Wan is great as the VooDoo Woman. An excellent introduction to the Witch-Hunting syndrome that is suitable to show to young children. Witch-Hunting still occurs today in politics, religion, workplace, school and sometimes even in the family, and this film could be a tool for inciting discussion.