"Häxan" (or "Witchcraft Through the Ages") is Benjamin Christensen's only film that is well known, which is unfortunate, as it's apparent that he did not create only a sole motion picture of note. I think his first one, "Sealed Orders" (Det Hemmelighedsfulde X) was interesting, but this, "Blind Justice", is a film markedly deserving of more attention. There are many film buffs and enthusiasts out there who I think would especially enjoy this. Danish silent cinema is often overlooked in film history; Carl Theodor Dreyer's films are the exception. And so, Christensen, probably Denmark's second greatest filmmaker of the era, remains, essentially, a director of one film.
This cannot be blamed on any lack of promotion of the film on Christensen's part. "Blind Justice" begins shamelessly with ballyhoo over Christensen's talent (not an unusual introduction). Then, he shows off a model of the villa used in the story. This is a delightful scene in itself, with the glowing windows in the model against the low-key lighting. Some, if they haven't seen the entire picture, might have seen clips of it, including this one and a few of the other most notable ones, which gives one an idea of the advanced chiaroscuro lighting and other visual effects that Christensen accomplished by 1916.
From the scene with the model of the villa, the film jumps right into the story. Christensen himself performs the role of tragic protagonist. The scenes at the villa beginning the story, with Christensen meeting Ann are great, especially in displaying a mastering of lighting and cinematography by Christensen and cinematographer Johan Ankerstjerne. The film ends well, too, with monstrous horror.
The film features the common (in Denmark) technique of flipping a light switch or turning on a lamp to seemingly light up rooms (they actually stop filming and setup the lighting before resuming). There are other instances of lighting made to seem diegetic, or that are diegetic; as well, there's some good use of tinting. Additionally, there are some interesting camera shots. The peephole POV ones aren't very original, but the outward dolly shot from the window that Christensen's character enters a room through is stunning. Such moments, especially early in the history of cinema, are rare enough; it's unfortunate that the films themselves can be such a rare find.
