I enjoyed this a lot. Not quite what I expected, less English Gothic, more Scandinavian menace. Rather creepy due to the rather unnerving but beguiling performance from Mirja Mane as the 'witch'. Naked or almost naked throughout (and this is 1952!) she completely dominates the screen and is only matched by those big skies above the sinister swamps. At first things seem a little stilted with characters moving almost as if in a silent movie and the dialogue takes some getting used to (although that may be the new translation) but once the naked bundle of Ms Mane is carried from her grave things really bubble. The women hate her and the men are totally beguiled or should I say bewitched! Much reference to the beast in man and all women being witches alluding as much to the then post war state of Finnish sensibilities as to any philosophical insight. Also much reference to dream and nightmare allowing for some measure of interpretation as we witness the men going crazy over the voluptuous seductress who will kiss and bite and disrobe at will and the women who get crazy at their men folk. A delight then, but not without a certain edge.

While excavating the bog on a baronial estate, workmen unearth the grave of a witch buried alive 300 years before. That night, a naked young woman is found unconscious in the grave and brought back to the baron's mansion where she proceeds to tear the village apart, inspiring unbridled lust in the men and hatred in the women...It's a morality tale to be sure (very much like Luis Buñuel's SUSANA in that respect) and the "Woman In The Window" twist ending is something we've all seen before countless times but in this case it reely works. The director makes the best of a low budget and some scenes are startling in their wintry beauty, making the nudity "chilling" to say the least.

Made after the Second World War, this film, which would translate to English as 'The Witch returns to life', shows the lack of funding so common in the post-war era in Finland. But yet, to keep people's humor up, the film industry did everything to ease the living of the poor households. The 'horror' part of this film might seem to us now more or less amusing.The seemingly light subject of the film has underlying social issues: The Second World War had ended just barely seven years ago. The heavy war indemnities forced Finnish industry to boost up its productivity. The agricultural Finland was moving faster and faster towards city-life. Women's rights were still in the developing stage. Especially in the countryside and farms the women were the ones to take care of the household while the men were busy out in the fields to secure the year's crop. 'Unconventially' behaving female was prone to draw negative attention - especially if she was young and attractive. The villager's moods could have easily turned to witch hunt-like persecution.Mika Waltari (September 19, 1908 – August 26, 1979) is one of the best known writers of Finland. His works have been translated to many languages all over the world. The most famous book is 'Sinuhe - the Egyptian', which made the Bestsellers list in many countries and is translated to 40 languages. 'The Egyptian' - a Hollywood movie was made according to 'Sinuhe' in 1954 (Director Michael Curtiz). The theater play 'Noita palaa elämään' (1947) is one of his 26 plays and was made for film in 1952 - the year Helsinki had the Summer Olympic Games. Altogether 33 books of Waltari have been filmed.

It's intriguing that so many diverse cultures have independently developed legends of the witch: a supernatural female, frequently erotic, with powers usually devoted to evil. Most peasant cultures are nominally ruled by men, but the two great mysteries of life -- birth and death -- are controlled by women. A woman gives birth, aided by midwives, in the absence of men. Women prepare a corpse for its journey to the afterworld. It may well be that the power of the witch is merely male fear of women's secrets, women's wisdom, women's sexuality.'Noita palaa elämään', which I translate (probably incorrectly) as 'The Witch Must Burn', is a fascinating Finnish version of the witch legend. I was surprised that this film is adapted from a stage play, as it features clever use of multiple locations and exteriors. There's nothing stage-bound here.Hannu and his pretty blonde wife Greta are young archaeologists excavating a grave on the estate of Baron Hallberg. (I cringed at their excavation technique, which involves removing earth as rapidly as possible, in large quantities.) They seem to be working under the patronage of the baron's son Veikko, rather than the baron himself. One of the diggers uncovers the grave of a witch who was buried 300 years ago at the behest of one of the baron's ancestors. The archaeologists remove the witch's remains, including the surviving scraps of her garments and a leather pouch. Working from these scraps, Greta tries to reconstruct the witch's original garments.Soon, the local peasants find a naked woman in the grave! Mirja Mane gives an astonishing performance as Birgit, the foundling. She dances naked through the Finnish countryside, her limbs contorting at weird angles and her long dark Betty Page hairstyle flying seductively. The peasants are scandalised. (One of the peasants looks amazingly like Rondo Hatton; another one resembles Jane Darwell.) Birgit is welcomed into the baron's castle by Veikko, Hannu and Kauko (a comic-relief portrait painter), and soon she's wearing the witch's dirndl made by Greta.SPOILERS COMING. There are suspicions that the erotic young Birgit is the ancient witch reborn, but at first these rumours seem to be superstitious misogyny: all of the 'supernatural' acts manifested by Birgit's arrival could be explained rationally. Gradually, though, as she seduces Hannu and Veikko (while causing Greta to begin an affair with Kauko), it becomes clear that Birgit indeed has supernatural powers. The climax of the film is powerful, raw, elemental and erotic ... but not scary. This film has many good points, but it simply isn't eerie enough to be a horror film.Despite an obtrusive music track, I was deeply impressed with the photography and editing in this film. There are a couple of bad cuts, but several other cuts are made very intelligently (including one reminiscent of Hitchcock's 'Rope'), and an unusual montage sequence without any dissolves. I was especially impressed by two jump cuts when Birgit causes objects to vanish: these jump cuts were filmed outdoors, in daylight against a formation of cumulus clouds ... so the director had to risk that the sun and the clouds might change position between the two camera set-ups either side of the cut. I can't recall that 'Bewitched' or 'I Dream of Jeannie' ever had the guts to do an open-air exterior jump cut. Throughout this film, the Finnish locations emphasise the alien and exotic aspects of the story.The peasants and servants, alas, are mere stock figures, perhaps more laughable than the filmmakers intended. But all of the primary actors in this film give first-rate performances. As Greta, Hillevi Lagerstam is sexy and flirtatious without ever becoming implausible. In the lead role, Mirja Mane gives an astonishingly physical and erotic performance, reminding me of Hedy Lamarr's famous nude scene in 'Ekstase'.I strongly recommend 'Noita palaa elämään' as an efficient (and erotic) example of low-budget film-making. The story, direction, editing and performances are excellent. However, if you're looking for a spooky horror film, look elsewhere. This movie, for all its powerful narrative, is NOT scary ... unless you're one of those people who think that the female form, in its naked glory, is something to be afraid of. I'll rate this excellent movie 9 out of 10.