THE CRUCIBLE

 

FOUR STARS - Disturbingly Profound

  

 

       One of the most disturbing acts of which humans are capable is to destroy the lives of others in the name of religion or of the state.  As seen in the Spanish Inquisition of the 12th century or the witch trials of Salem, Massachusetts in the 17th century, religion or superstition when given legal power can be corrupted into murderous evil.  In “The Crucible,” superstitious fears collude with arrogant judicial power and the combined impact is devastating.

       This truth, that various forms of religion can distort the state and that various practices of the state can distort religion, is why we are in the midst of an experiment of separation of church and state within our nation.  Though unexpected turns in this experiment have caused uneasy feelings among most thoughtful persons, the protection from the perversion of either religion or state far out-weighs its deficiencies to date.

       In this film version of one of the most powerful, disturbing, and important plays of our time, Arthur Miller’s “Crucible” is effectively and dramatically presented.  The subtle nuances of temptation, obsession, pride, revenge, cruelty, confession and forgiveness are masterfully acted by the characters of the film.

       Although it can be argued that the evil in Miller’s Salem was due at its core to the sin of adultery, this sin and its ensuing obsession becomes the foundation for even greater destruction within the religious and judicial practice of the community.

       Beginning with the Caribbean occult influence of a servant girl who conjures up charms for a coven of adolescent girls to put spells on the men they want to marry, this forbidden practice of the theocracy of England and the Massachusetts colony soon ensnares both the pastor and the judge in a quagmire of confusing accusations.

       The story begins when a young woman named Abigail, played with wicked genius by Winona Ryder, is cut off from her adulterous affair with  John Proctor (Daniel Day-Lewis) by his wife Elizabeth (Joan Allen).

       Abigail’s obsession for John compels her to seek demonic power to get him away from his wife.  In a satanic ritual, she shocks and scares the other girls when she drinks the blood of a sacrificed chicken in a prayer for Elizabeth’s death.

       When her uncle, the Rev. Parris  (Bruce Davison) who is the minister of the church in Salem, comes upon the forbidden and illegal ritual, the cadre of young women unite together behind Abigail in an accusatory trial in which 19 people are eventually hung for NOT confessing their involvement with the devil.

       The power of the drama rests on several levels of moral, legal and spiritual dynamics.

       The moral level rests on the adultery of John and Abigail.  Their illicit relationship punishes John with the loss of family and ultimately  his life, consumes Abigail with satisfying her desire at any cost, and imprisons Elizabeth in her cold suspicions.

       Beyond this triangle, the wider fallout on the community includes its participation in Abigail’s revenge and expansion of the circle of destruction this original sin begins.

       Similarly in our communities, ever-widening circles of innocent victims suffer due to the effects of each others’ sins.  From drive-by shootings which leave innocent children to die, to babies born with AIDS, to increase costs due to theft and fraud, we participate in the results of each other’s moral choices.

        Abigail extends the evil by using the legal system to achieve her own selfish purposes.  This is also a common experience.  The using of laws to sue and hurt others for revenge or personal gain is a frequent evil twist of a necessary judicial system.

       While the court of Judge Danforth (Paul Scofield) takes its terrible toll, Judge Sewall (Santa Barbara’s George Gaynes) calls for a second look at the evidence of who is telling the truth.  But Judge Danforth, not wanting to appear to be weak, is willing to condemn the lives of innocent people.  This tragic but common event of delaring people guilty until proven innocent had its impact on the leaders of the American Revolution 75 years later.

       But the final dynamic with which “The Crucible” deals is that of spirituality itself. When Rev. Hale (Rob Campbell) is appalled at the court’s indictments against upright and moral people, he is pitted against the Rev. Parris whose struggle with his congregation uses the trial to remove his own opposition. 

       “The Crucible” is a powerful drama which can enlighten us to protect us from ourselves if we will allow it.  If we do not, then our own temptations and weakness place everyone else at peril.

 

 

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