Veronica Lake was an iconic American actress of the 1940s. She was known for her signature hairstyle - the "peek-a-boo bangs" - that partly covered one eye. Lake starred in numerous films during her career, establishing herself as a popular leading lady. One of her most notable roles was in the 1942 fantasy-comedy film "I Married a Witch." "I Married a Witch" is a romantic comedy with supernatural elements. The film follows the story of a witch named Jennifer, played by Veronica Lake, who is burned at the stake in the 17th century.
There’s a certain kinky power dynamic to the relationship between Jennifer and Wallace, which foreshadows similar magical pairings in Bewitched, I Dream of Jeannie, Sabrina the Teenage Witch and even Mary Poppins. Jennifer perfects the sliding-up-the-banister maneuver years before Mary Poppins attempts it, and she mainly uses her powers in service of romantic and household harmony for herself and Wallace. Even before she’s accidentally dosed with a love potion meant for Wallace, Jennifer seems smitten with the flustered politician. If her plan is meant to punish him, it’s a complete failure.
I Married a Witch ends with a flash-forward to the domestic life of Jennifer and Wallace that could be the start of a similar sitcom, but one of the movie s charms is that it s lively and brief. Jennifer perfects the sliding-up-the-banister maneuver years before Mary Poppins attempts it, and she mainly uses her powers in service of romantic and household harmony for herself and Wallace.
The film follows the story of a witch named Jennifer, played by Veronica Lake, who is burned at the stake in the 17th century. However, before her execution, she places a curse on the family of her persecutor, ensuring that all future male descendants will be doomed in love. Centuries later, Jennifer and her father are released from their captivity as spirits and decide to wreak havoc on the current descendant, Wallace Wooley, who is running for governor.
Classic Corner: I Married a Witch
There’s something magical about Veronica Lake’s presence in 1942’s I Married a Witch, and not just because she’s playing the title sorceress. René Clair’s romantic comedy is a whimsical trifle, as light as the vapor forms of Lake’s Jennifer and her father Daniel (Cecil Kellaway), but Lake gives it substance with the force of her charm. Jennifer may be a sort of 1940s manic pixie dream girl, disrupting the life of stuffy politician Wallace Wooley (Fredric March), but she has an internal life behind those twinkling eyes, which Lake imbues with wit and cunning.
Jennifer falls in love with Wallace, but really she has every reason not to. His ancestor Jonathan Wooley (also March), a Puritan settler in early New England, denounced Jennifer and Daniel and had them burned at the stake. Their spirits were then trapped in a tree, where they remained for the next 200-plus years. In retaliation, Jennifer placed a curse on the Wooley lineage, that Jonathan and his descendants (all of whom appear to be male, all played by March) will always be unlucky in love, marrying the wrong spouse. Sure enough, when a bolt of lightning splits the tree and sets Jennifer and Daniel’s incorporeal forms free, Wallace is engaged to the humorless, demanding Estelle Masterson (Susan Hayward).
Jennifer and Daniel may be witches, but they’re not evil. When they float over to the engagement party/campaign rally for Estelle and Wallace, who’s running for governor, the worst they do is cast a spell to make Wallace stub his toe. The more experienced Daniel tells the somewhat naive Jennifer that the worst curse for a man is not to marry the wrong woman, but rather to be in love with a woman he cannot be with. So Jennifer decides to punish Wally by making him fall in love with her, after she assumes an alluring form.
Lake is easy to believe as a woman irresistible to even a devoted husband-to-be, although the hapless Wallace is less enticing. Jennifer’s plan is silly, but this is a silly movie, and the instant love connection between the two characters could serve as a parody of the speed at which love develops in a typical 1940s rom-com. Wallace goes to comically elaborate efforts to avoid Jennifer, but there’s never any sense that he actually loves Estelle or that he particularly wants to be governor. This is a man who has nothing worthwhile in his life until Jennifer comes along.
Jennifer and Daniel have to start a fire in order to regenerate Jennifer’s body, burning down a hotel named after the pilgrims (but of course harming no one in the process) and attracting Wallace’s attention. He “rescues” Jennifer, who doesn’t seem in much of a hurry to escape the burning building, instead taking time to admire her latest physical incarnation and to tease Wallace with the prospect of her naked form. Clair and Lake test the boundaries of the Production Code with multiple implied moments of nudity, and they have Jennifer spend the night in Wallace’s bed, although he himself never appears to join her.
There’s a certain kinky power dynamic to the relationship between Jennifer and Wallace, which foreshadows similar magical pairings in Bewitched, I Dream of Jeannie, Sabrina the Teenage Witch and even Mary Poppins. Jennifer perfects the sliding-up-the-banister maneuver years before Mary Poppins attempts it, and she mainly uses her powers in service of romantic and household harmony for herself and Wallace. Even before she’s accidentally dosed with a love potion meant for Wallace, Jennifer seems smitten with the flustered politician. If her plan is meant to punish him, it’s a complete failure.
Like Bewitched’s Samantha Stephens, Jennifer pledges to devote herself to becoming a housewife, and her infatuation with Wallace could be viewed as negating the freedom and mischievousness that comes with being a witch. Despite Daniel taking her powers away in retribution for her antics, though, she still has the upper hand in her relationship with Wallace. Even when he seems to make a decision on his own, it’s driven by her desires, and he’s better off for it. Darrin Stephens may have been the high-powered ad executive, but there was no question who held the power on Bewitched, and the same holds true here.
I Married a Witch ends with a flash-forward to the domestic life of Jennifer and Wallace that could be the start of a similar sitcom, but one of the movie’s charms is that it’s lively and brief. In 75 minutes, Clair delivers effervescent romance, clever wordplay, gentle social satire, and one of the best movie-star showcases of the era. Wallace falls in love with Jennifer over the course of a night that passes in a single time-lapse shot of a clock. By that time, the audience is way ahead of him.
I Married a Witch could easily have been a novelty item, a slight trifle which was forgotten with time, but the serendipitous involvement of two major personalities guarantees its legacy as a comedy classic. First, there's French director Rene Clair -- this is the first of his American films I've seen, and if its tonic whimsy and imagination is any indication, then his Hollywood period may be seriously underrated. In making the trans-Atlantic jump, Lang, Renoir, and some guy named Hitchcock all earned praise - eventually, if not initially - from intellectuals but Clair is rarely discussed following his early talkies. Yet his tinkling sense of magic and erotic energy feel as present in I Married a Witch as in A nous la liberte. Perhaps this was a rare high point, but at any rate, it crackles with invention.
Jennifer's plan is to make him fall in love with her and then break his heart. However, she unexpectedly falls in love with Wallace while using her powers to toy with him. As the story unfolds, Wallace becomes fascinated by Jennifer's beauty and charm, unaware of her true identity as a witch. The comedic moments arise from the chaos caused by Jennifer's mischief and her love-hate relationship with Wallace. Ultimately, Jennifer must decide whether to follow her heart and defy her father's plans or stick to her original intention of sabotaging Wallace's political career. "I Married a Witch" received positive reviews upon its release, with audiences praising Veronica Lake's performance and the film's whimsical storyline. Lake's portrayal of Jennifer showcased her talent for playing strong, independent female characters with a hint of vulnerability. The film's success solidified Veronica Lake as a leading actress and established her as a prominent figure in Hollywood during the 1940s. "I Married a Witch" remains one of her most memorable roles and is still enjoyed by audiences today for its unique blend of romance, comedy, and fantasy elements..
Reviews for "The Enigmatic Witch of Veronixa Lake: A Tale of Forbidden Romance"
1. John - 2/5 stars
I found "Veronica Lake I Married a Witch" to be quite disappointing. The storyline felt weak and predictable, and the acting was subpar. Veronica Lake's performance was particularly lackluster, as she failed to bring depth or complexity to her character. The comedic elements also fell flat, with the jokes feeling forced and contrived. Overall, I was unimpressed with this film and would not recommend it.
2. Emily - 2/5 stars
"Veronica Lake I Married a Witch" was a letdown for me. The plot was unoriginal and lacked any real substance. The performances were mediocre at best, with Veronica Lake's portrayal of the witch falling short of my expectations. The film's attempts at humor were cringeworthy and failed to incite any laughter. While the visual effects were impressive for its time, they couldn't make up for the overall lack of depth in the storyline. I was left feeling unsatisfied and would not watch this film again.
3. Michael - 1/5 stars
I couldn't make it through "Veronica Lake I Married a Witch." The plot was absurd and unconvincing, and the characters were one-dimensional. Veronica Lake's acting left much to be desired, as her delivery felt forced and unnatural. The attempts at humor were downright irritating, with jokes that mostly fell flat. The film seemed to rely heavily on tired stereotypes and clichés, leaving no room for originality. I regret wasting my time on this poorly executed film.