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I Married a Witch

I Married a Witch

Romance · Fantasy · Comedy · 1942

A 17th-century witch returns to wreak havoc in the life of a descendant of the Puritan witch hunter who burned her, but runs afoul of her father when she discovers that her mischief might have found her true love.

Movie details

I Married a Witch

“No man can resist her!”

1942 Romance · Fantasy · Comedy 1h 17m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

A 17th-century witch returns to wreak havoc in the life of a descendant of the Puritan witch hunter who burned her, but runs afoul of her father when she discovers that her mischief might have found her true love.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over I Married a Witch?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Practical Magic

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Sabrina the Teenage Witch

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Godmothered

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Practical Magic 2

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The Owens sisters must confront the dark curse that threatens to unravel their family once and for all.

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Names above the title

The people responsible.

Directed by

René Clair

Written by

Robert Pirosh · Marc Connelly · Thorne Smith · Norman Matson

Fredric March

Fredric March

Jonathan / Nathaniel / Samuel / Wallace Wooley

Veronica Lake

Veronica Lake

Jennifer

Robert Benchley

Robert Benchley

Dr. Dudley White

Susan Hayward

Susan Hayward

Estelle Masterson

Cecil Kellaway

Cecil Kellaway

Daniel

Elizabeth Patterson

Elizabeth Patterson

Margaret

Robert Warwick

Robert Warwick

J. B. Masterson

Court is in session

Put I Married a Witch on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.