The crucible - Saint Ignatius' Moodle Community

study guide
RECOMENDED FOR MATURE
AUDIENCES 15 YEARS AND OVER
ADULT THEMES
LOW LEVEL COARSE LANGUAGE
Opens nationally February 6th

All in all, then, the seeds had been planted for the disaster that eventually would
rip apart their community. Tituba’s presence among the girls, society’s
repression, religious belief and fear of persecution, a sense of impending doom
because of the raids by Native Americans (believed to be emissaries from the
Devil), and the political instability of the colony mixed with the rivalries within
the village - all combined to produce the social paranoia that fuelled the fires of
the witch hunts. Long before the children cried ‘witchcraft,’ the people of
Salem were suspicious of each other.
Historical Background
- The Red Scare and McCarthyism in the 1950s
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Historical Background
- The Salem Witchcraft Trials of 1692
In order to understand how reasonable people could allow themselves to take
part in the miscarriage of justice that the Salem witchcraft trials represent, we
need to consider the kind of society the Puritans created in Salem Village,
Massachusetts, in the seventeenth century.
Massachusetts differed from the other colonies in that it was a theocracy, a
commonwealth dominated by theology. Many of the Puritans who first settled in
Massachusetts relocated so they could practise their religious beliefs without
suffering persecution; they established a system of governance founded on and
designed to preserve their religious principles.
The Puritans in Massachusetts were convinced they were God’s chosen people
on an errand to the wilderness. Puritans literally believed that they were
establishing a New Jerusalem in the New World.
In order to fulfil this divinely ordained destiny, they actually thought they had to
combat Satan, who freely roamed the wilderness. At first, the Puritans wished to
convert the Native American inhabitants who lived in the woods. When they
resisted conversion, the Puritans decided that the Native Americans were agents
of the Devil who had to be destroyed.
Although charges of witchcraft were fairly common at the time, no other
community experienced such widespread panic and terror. We have to wonder
what was so unique about Salem Village that it experienced such mass hysteria.
The frequent attacks by bands of roving Native Americans unquestionably
contributed to the anxiety of the already insecure people.
These problems were compounded by the bitter antagonisms between rival
factions in the community.
Friction among the residents and the political instability of a village under siege
define the motives of the adults in the community, but what about the children’s
actions? Perhaps no single factor had more to do with the children’s fascination
with witchcraft than the alluring presence of the exotic slave, Tituba. The effect
of this fantastic figure on the impressionable young girls of Salem Village must
have been tremendous. Certainly we can understand how children living in a
repressed society might seek an outlet for their fantasies and hidden desires by
turning to an unusual individual. Tituba must have been a popular source of
amusement for children who sought diversion from their daily chores and
routines.
Arthur Miller had been fascinated by what he calls the ‘inexplicable darkness’
surrounding the Salem witchcraft trials ever since he was a college student in
the 1930s. He did not write about the event until the 1940s and ’50s when the
Cold War mentality in America caused a purge of liberals and suspected
communist sympathisers.
Chief among those politicians who capitalised on the fear of the ‘red threat’ in
America was Senator Joseph McCarthy. After World War II, Americans realised
the Soviet Union was a powerful and potentially dangerous adversary. This view
was seemingly confirmed by the news of Soviet nuclear capability. Threatened
by real and imagined concerns, many Americans viewed this force as a sinister
obstacle to the goal of world peace. Riding the wave of popular opinion,
Senator McCarthy created a stir and rose to national prominence by
announcing to the media that he had information proving that high ranking
officers and executives in the United States State Department and in the military
were known members of the Communist Party.
His unsupported allegations gave rise to various congressional investigations
designed to expose the dangerous threats hidden in society. In all walks of life -
in film and television, business, education, and in government - innocent
people were unjustly persecuted for their views. Civil liberties were suspended
as many people were fired from their jobs simply because they were suspected
of being communists. No longer was one innocent until proven guilty, which is
the foundation of the American justice system. An accusation by an unknown
informant was sufficient to end a person’s career and severely damage their
reputation.
Although Senator McCarthy enjoyed a few years of celebrity with his hostile
interrogations, he was eventually proven to be a fraud. The ‘red scare’ ended,
but not before many innocent people had their lives, families and careers
destroyed.
Arthur Miller was struck by the incredible similarities between the hysteria in
Salem in 1692 and the hostile life in American society after World War II. He
decided to write a play that would explore ‘the mystery of the handing over of
conscience,’ which he viewed as ‘the central and informing fact of the time.’ In
The Crucible, Miller uses the Salem witch trials to address this problem and
to show why it is imperative that one not let his or her ‘name’ be used to hurt
others.
Ironically, in 1956, three years after The Crucible opened on the Broadway
stage in New York City, life imitated art. Miller was called in to testify before the
House Committee on Un-American Activities. He courageously refused to say
anything that would bring harm upon another individual.

ENGLISH SECTION
Before viewing the film
Miller says that ‘even now we’re not that far removed from Salem. The Other is
still considered the Devil . . . Too often what we regard as the devil is merely
our desires, fears and guilt - our humanity.’
Read Leviticus 16: 20 - 22 and discuss the origin of the term ‘scapegoat’.
Find examples where a scapegoat has been made to carry the ‘sins’ of the
community. What benefit is derived from scapegoating another?
Examine recent race relations in Australia. Are racial groups used as
scapegoats? For what? By whom?
‘Witchhunt’ has entered common parlance. What does it mean? Find some
examples of its use in the media.
After investigating McCarthyism, consider parallels in contemporary
Australia. For example, what does it mean to call someone un-Australian?
After viewing the film
A crucible is a vessel in which substances are heated to high temperatures, the
impure elements being melted away to leave the pure elements behind.
Is this an appropriate title for the play/film? Why?
Adaptation:
Read Miller’s play The Crucible. Take particular note of the stage directions
which give insight into characters’ motivations.
A play is made of words, a film of images. In adapting The Crucible to film,
Miller focused on making the story move. Whereas the play was set in four
rooms, the film uses varied locations, and the action moves fluently from one
place to another, ‘like a man-made hurricane.’
Is there any evidence in the film to suggest it had once been a stage play?
Examine the narrative structure of the film and compare it to the play. What are
the challenges for a writer in adapting from the stage to the screen?
Miller has added scenes to the film which, while central to the play, were only
described or imagined.
What impact does depicting the scene in the forest have on the viewer’s
understanding of subsequent events?
While the play ends with Proctor in his cell, the film portrays his execution.
Contrast the jubilant crowd at earlier executions with the final crowd scenes.
Why has the mood changed? Does the depiction of this scene add weight to the
film’s political message?
Characterisation
A strength of Miller’s script is the complexity of his characters. He has resisted
the temptation to create wholly good or wholly evil characters: most are flawed
human beings struggling to make sense of their experience.
Miller observed, ‘A man who feels as deeply guilty as Proctor would have, in the
normal course, gone along and fed into the witchcraft hysteria; it would have
strengthened him against himself, to join this galloping mob of people in
accusing everybody. . .’
While Proctor is deeply flawed, he is also heroic. Examine Proctor, not only
through his words, but in the way he is depicted (for example, working in the
field with his sons). How does the depiction of Proctor differ from that of
Parris and the Putnams? Why?
Examine the relationship between John and Elizabeth Proctor. Trace its
development, from the early revelations of infidelity to the later scenes of
farewell. Why do you think Miller refused to portray one as the villain, the other
as an innocent victim?
Elizabeth Proctor says, ‘He have his goodness now. God forbid I take it from
him.’ Proctor wants to live; Elizabeth loves her husband. What is it that neither
is prepared to sacrifice for the sake of Proctor’s life? Why?
Abigail is central to the witchcraft hysteria and the destruction of the
Proctors. Is she evil? Are there points in the film where the audience feels
sympathy for her? Towards the end of the film she disappears, and it is clear
that she is ‘guilty’. Is there a single point at which the audience becomes aware
of Abigail’s destructive intentions?
Trace the sexual triangle that runs through the film. How are Abigail and
Proctor portrayed when they first meet on screen? Examine the relationship
between Elizabeth and Abigail. Is the Proctors’ ‘reconciliation’ climactic?
Judge Danforth’s ‘particular danger is that his convictions are genuine and
his commitment to rooting out the Devil is deeply felt.’ At times Danforth begins
to doubt Abigail’s testimony. How do these occasions add to the complexity of
the film?
Sexuality
‘The girls are starting to throb with a sexuality that grows in all of us when we
come of age. But in Salem in 1692 there was no place for them to put that.
When they dance in the woods, it’s so alarming to the rest of the community
that it’s identified as witchcraft. It’s a story about how sex can bring a whole
community crumbling down.’
To what extent do you agree with this account of the film by director
Nicholas Hytner?
Note the difference in dress and hairstyles between the girls and the
married women of Salem. What might the various representations signify?
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Resolution
‘Proctor signs the confession to save his life, but the judges demand the
confession be made public, and he finds that he cannot live in a society
uncommitted. He must be either totally and publicly against the accused or
totally and publicly with them. There is no middle ground of private
commitment and public neutrality. This is Proctor’s final dilemma . . . and
Miller will not . . . allow the individual to escape from his social obligations
into his private life.’ (From Twentieth Century Interpretations of The
Crucible, Ed. John H. Ferres, Prentice-Hall, 1972.)
Does The Crucible demonstrate that the political is personal, the personal
is political?
At the film’s conclusion we learn that Salem eventually came to its senses,
but not before the loss of many innocent lives. What did the lives of Proctor,
Rebecca Nurse and Martha Corey represent, to Danforth, and to the people of
Salem?
Is it essential, in terms of the narrative, that these three die?
At the end of the film, what are your feelings towards Proctor, Elizabeth,
Danforth, Abigail and Mary Warren?
Is The Crucible relevant today?
Media Studies Section
‘A timeless tale of truth on trial, The Crucible is a relentlessly suspenseful
drama of collective evil and personal conscience. And at its centre is a vastly
moving story of guilt, love and redemption.’
This brief synopsis comes from the publicity material used to promote the film.
Identify the elements in this description that seem to be popular or
marketable to cinema audiences and discuss the attraction of these.
Focus on one of the above elements, for example, ‘collective evil’, ‘love’,
‘redemption’ or ‘personal conscience’, and discuss how it is represented and
developed within the film.
From the very first shot to the climactic cry of John Proctor, ‘I have given
you my soul, leave me my name’, the film contains many suspenseful
sequences.
Select any one of these and discuss how various production elements and
techniques contribute to the development of suspense and drama. Consider any
of the following:
camerawork
lighting
music
setting
visual composition
editing
sound effects
direction of actors
The Crucible has been described as ‘a timeless story’.
Playwright and screenwriter, Arthur Miller, conceived the play in response to
the anti-communist hysteria inspired by Senator Joseph McCarthy’s ‘crusade’ in
the early 1950s.
To a certain extent the film has transcended its specific allusions to
McCarthyism.
‘The sad truth about this story is that it will always be topical,’ according to the
film’s director, Nicholas Hytner.
Films most often reflect the social values of the production period in which they
were made rather than the period in which their stories are set.
Identify the social values of the 1990s that could be reflected either in
concrete or allegorical terms in The Crucible.
Explore through discussion or written analysis how The Crucible might
reflect the social and political climate of contemporary America or Australia or
indeed, the world.
The film is didactic in that it has a specific purpose and conclusion for its
audience to draw. The message about the injustices suffered by the Salem
community is reinforced by the postscript that appears as text after the final
scene.
Are there clearly identifiable heroes/victims/accusers?
The film has a complexity in that at different points the audience is encouraged
to identify with different characters.
Explore how the film works to enhance the positioning of the audience to
identify with a particular character.
Select any three of the following characters and identify points in the film
when you could identify or empathise with them. Explain what the character
was feeling at that point and why you could understand them: John Proctor,
Abigail Williams, Judge Danforth, Elizabeth Proctor, Reverend Hale, Rebecca
Nurse, Mary Warren.
Adaptation
Casting
‘Daniel’s manifest integrity means he can embody emotionally the idea of a man
who feels morally compromised; he can encompass the wrenching dilemma
faced by a man who can only accept God’s most precious gift - Life - if he is
prepared to sacrifice his good name.’
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How does the use of cinema techniques contribute to the motion within the
film?
What does this motion represent? Consider the interrogation scene in the
church.
DRAMA SECTION
Arthur Miller is acknowledged as America’s greatest living playwright. While
most of his plays are set in contemporary America, his work is strongly
influenced by Ibsen and even the early Greek tragedies which explore notions
of self-knowledge and self-realisation. Miller has said that he wants his
audience to have a ‘heightened awareness of what living in our time involves.’
The Crucible’s director, Nicholas Hytner, never contemplated the possibility of
approaching any other actor to perform the part of John Proctor. Particular
actors bring certain qualities and associations with other roles to films. Day-
Lewis brings to the role the same strength of conviction that he portrayed in the
character of Gerry Conlon in In The Name Of The Father.
Hytner said of Paul Scofield who plays Judge Danforth:
‘It would have been easy enough to find one of those actors who specialise in
the sinister, but Danforth’s particular danger is that his convictions are genuine
and his commitment to rooting out the Devil is deeply felt.’
Make a list of the qualities that each of the main actors brings to their role.
Setting
Study the final meeting between John and Elizabeth Proctor. Why is this
such a powerful scene?
How does the setting of this scene on the windy beach with its turbulent
breaking waves contribute to its impact?
The relevance of The Crucible’s story in today’s society is what prompted film
director Nicholas Hytner to undertake this project. He believes that Miller’s
story is universally truthful. Arthur Miller says that he sees in the Salem
witchhunt many modern parallels of tyranny, evil and persecution.
Miller skilfully combines symbolism with naturalism in most of his plays. The
Crucible is a very symbolic play and Hytner’s painstakingly authentic
naturalistic film also includes strong symbolic elements which heighten the
drama.
Consider the opening sequence in the woods. A circular symbol is
repeatedly used. Can you think of some examples? Are there any other reoccurring
symbols? Discuss the use of water.
The Crucible is a psychological drama which flourishes in an atmosphere
of fear and suspicion. Imaginary devils and psychological obsessions were
barely contained in the joyless daily ritual of Salem life.
The power of suggestion is an extremely strong force. When a group of
people take up a notion, and act upon it as a group against an individual, it can
be an over-whelming force.
Consider the plight of Tituba and Mary Warren who both broke down and
‘confessed’ after repeated accusations.
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The final scene as well as an earlier scene where Proctor and other
townspeople follow the girls as they run into the sea present imagery with
strong religious connotations.
Proctor is accused as the crowd stand around him in the shallows. What
biblical stories and characters do these two scenes allude to?
Is this a coincidence? Are there other scenes/sequences/shots that include
religious imagery? Explain how these might contribute to the characterisations,
story and messages of the film.
Production design
Arthur Miller realised early in the adaptation process that finding images that
would successfully convey what language had done on stage would be a
formidable job.
The director’s objective was ‘to make the film move.’
Consider the use of the camera and editing throughout the film. In
particular sequences the intercutting between shots is quite rapid and fluid
whilst the camera is operated on a crane enabling movement above and
amongst the actors.
Drama Activity
Choose someone to be the victim and place them in the centre of a circle.
The rest of the group then form a circle and slowly walk around them chanting
their name. The chanting should get louder and louder and more and more
menacing.
Substitute the victim’s name for a continual hissing, growling or sneering. Take
turns at being victim. Discuss how you feel in this situation.
Next, hold the circle position while the accusers on the outside interrogate
the victim in the middle about their actions during a certain period of time -
e.g. yesterday’s lunch hour.
The aim of this exercise is to confuse and disorientate the victim with a series
of contradictory questions and suggestions. This ‘victimising’ is not pleasant but
it is an effective role play.
The crucible is a very wordy play. The characters are given a certain dignity
and their relationships an old-fashioned formality by quaint phrases or
grammatical usage. List some of the words and phrases used between the
husbands and wives, families and close friends that are not in use today.

Improvise a short scene, i.e. a family meal with each member of the family
speaking in this rather formal manner. (Remember to start the meal by saying
grace - a thanksgiving for the food.)
The producer and director went to extraordinary lengths to ensure the
authenticity of this film.
Consider -
(a) The style of architecture.
(b) The props, modes of transport and interiors.
(c) The fashions and costumes.
How does this attention to detail enhance our appreciation of the film? Does
this authenticity make the characters more believable? Can you list some
sequences in the film that would be impossible to reproduce on stage? What
dimensions of the story would be lost without these sequences?
Make-up supervisor Naomi Donne insisted that the actors wore no
conventional make-up. ‘The life was very hard for these people and I wanted to
reflect their lifestyle in their appearance’, she explained. She ‘weathered’ her
actors by cutting and dirtying fingernails, painting on calluses or yellowing
teeth.
One of the most theatrical sequences in the film is the courtroom drama where
John Proctor and his wife are summoned to appear before the judges and
required to give a separate account of their relationship with Abigail Williams.
This scene bears a striking resemblance to many stage productions of this play
in its stark simplicity, the symbolic positioning of the accused - removed from
other witnesses, isolated from each other, yet deliberately positioned to bear
the full weight of the relentless questioning from the judges.
Drama Activity - Divide and Conquer
Select three people to be the accused. Give them a few minutes to collaborate a
simple story - e.g. how they broke a piece of school equipment. What
happened, who was there, conversations, details of surroundings need to be
decided.
Next send them outside the room and bring them in one at a time for their
‘trial’. Record what each one says in response to aggressive, probing
questioning from the rest of the group. Each of the accused must stay in the
room after their questioning to listen to the responses of their peers in the
same manner that John Proctor was forced to listen to his wife’s testimony.
Record any discrepancies.
Everyone in the ‘court’ must maintain a sombre judicial air to heighten the
tension and the alienation of the accused.
The use of ‘dance’ is a small but significant part of this film. The film opens
with a group of young girls dancing in the woods. However, it is not just the
dancing that this community wants to stifle, but the burgeoning sexuality of its
adolescents, the females in particular. In the intensely Puritanical society of
Salem, dance was forbidden as ungodly and sinful. Dance is often used as a
medium to release pent-up emotions and frustration or as a bonding
mechanism between social groups. Discuss the use of dance in other cultures -
(a) as a ritual.
(b) as an emotional release.
(c) as a social mechanism.
Young people and adolescents have often been at odds with adults about
‘inappropriate’ dance styles. Can you list some of these? Discuss the use of
dance as an emotional release among adolescents in our society. Could this
ever lead to any ‘demonic’ or hysterical demonstrations?
The Crucible opens on February 6, 1997. For further information on
school bookings and group bookings, including the discounts
available, please contact your local cinema.
For enquiries and further information, please contact the Twentieth
Century Fox representative in your state:
Ms Tina Zaccardelli, 505-523 George Street, Sydney NSW 2000
Tel: (02) 9261 7800
Ms Michelle Kish, 9th Floor, 140 Bourke Street, Melbourne Vic 3000
Tel: (03) 9663 4355
Ms Roxanne Melloway, 1 Walden Place, Walden Lane,
Brisbane Qld 4006 Tel: (07) 3252 7983
Mr John Cronin, 15 Rose Street, Mile End SA 5031 Tel: (08) 293 2523
Ms Shani Barr, West Centre, Level 1, 1260 Hay Street,
West Perth WA 6005 Tel: (09) 485 1088
Written for ATOM by
Michelle Liddy, David Maloney
and Jillian Scott © ATOM 1997
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