Master of the House

Based on the play Tyrannens fald by Svend Rindom, Master of the House is the story of a housewife who teams up with her maid on a revenge scheme towards her tyrannical husband who has made their life a living hell. Directed, edited, and art direction by Carl Theodor Dreyer and screenplay by Dreyer and Rindom, the film is a revenge film of sorts set in the domestic world where two women conspire to save their family from their bullish patriarch and teach him a lesson. Starring Johannes Meyer, Astrid Holm, Karin Nellemose, Clara Schonfeld, Mathilde Nielsen, Johannes Nielsen, Petrine Sonne, and Aage Hoffman. Master of the House is a riveting and witty film from Carl Theodor Dreyer.

The film follows a businessman who has lost his business as his frustrations would have him lash out at his wife and family as well as his former nanny who frequently visits as she and the wife conspire to get revenge on the man. It’s a film with a simple premise as it explores the idea of who controls the house as a man is wreaking havoc on his family as he tries to maintain his rule while being very cruel to his wife, three children, old nanny, and his mother-in-law who would also make a few visits. The film’s screenplay by Carl Theodor Dreyer and Svend Rindom has a unique structure that begins with the way Ida Frandsen (Astrid Holm) runs her household in doing all of the things a housewife does as she’s aided by her eldest daughter Karen (Karin Nellemose) who would help watch over her younger brother Frederick (Aage Hoffman) and the family baby. Yet, they are mistreated with some indifference by the patriarch Viktor (Johannes Meyer) who was a successful watchmaker until he lost everything as he just complains about everything around him and terrorizes everyone.

When his old nanny Mads (Mathilde Nielsen) would make her visits to help around the house, things would become more chaotic to the point that Ida’s mother Alvilda (Clara Schonfeld) decides to take Ida to her home away from Viktor who has become abusive. This would prompt Mads to do something big in the film’s second half as it relates to everything Viktor has done to Ida and the family where he would get some revelations about what his wife does while he’s often away at the bar or trying to find work. It does become a different film of sorts in terms of who is the master of the house as the script would become this kind of feminist film of sorts as Mads would have to go back to old tactics in the way she dealt with Viktor as a child.

Dreyer’s direction is definitely simple in its approach to the visuals as the camera throughout the film rarely moves except in scenes outside of the house or a camera tilt inside of the home. Much of the compositions has Dreyer use medium shots for much of the film to play into the sense of theatricality that is prevalent throughout the drama. Especially as he doesn’t go for any kind of close-ups as there are a few wide shots for scenes outside of the house but that is pretty much it as Dreyer is more about the way the household is run and what happens when Ida is out of the picture in running the household. Also serving as the film’s art director and editor, Dreyer’s approach to the sets would help create something that is intimate for the camera to capture as much coverage in its compositions without the need to move it in case a character goes from one room to another. Instead, he would cut to that person in the other room as his approach as an editor his also very straightforward. Even in his idea of humor which is very subtle as it showcases the humility that Viktor has to endure all because of his selfishness towards the people in his live. Overall, Dreyer creates a compelling and evocative film about a family patriarch getting his comeuppance from his wife and former nanny.

Cinematographer George Schneevoigt does brilliant work with the film’s black-and-white photography as it features some unique shades of lighting for some of the interiors as well as going for something natural in the few exterior scenes in the film. The film’s reconstructed score by Gillian B. Anderson that is performed by pianist Sara Davis Buechner from its 2010 reissue is superb for its piano-based score that play into the style that was reminiscent of the music made during the silent film era with its array of moods and pieces that is played continuously.

The film’s amazing cast as it include some notable small roles from Petrine Sonne as a washer woman from the film’s second half, Johannes Nielsen as a doctor who would look over Ida, Aage Hoffman as Ida and Viktor’s son Frederik, and Clara Schonfeld as Ida’s mother Alvilda who is trying to help her daughter and the family as she would help Mads in her plan. Karin Nellemose is fantastic as Karen as Ida and Viktor’s daughter who tries to help her mother every way she can but also pities her father once she sees him try to adjust without his wife. Mathilde Nielsen is incredible as Mads as Viktor’s former nanny whose frequent visits to help the family has her seeing what Viktor has become where she decides to make him pay.

Astrid Holm is brilliant as Ida as a housewife who is mistreated, neglected, and overworked as someone that does love her husband but couldn’t take the abuse anymore as she goes along with Mads’ plan. Finally, there’s Johannes Meyer in a marvelous performance as Viktor Frandsen as an unemployed watchmaker who unravels in his lack of progress as he starts to vent his anger at his family including his wife where he would later endure a lesson in humility that would make him realize the abuse he has done to his wife and family.

Master of the House is an incredible film from Carl Theodor Dreyer. Featuring a great cast, a captivating story with proto-feminist ideas, gorgeous visuals, and amazing sets. It’s a silent film that is quite intriguing in its depiction of household life as well as the importance of a woman’s role in that household. In the end, Master of the House is a phenomenal film from Carl Theodor Dreyer.

Carl Theodor Dreyer Films: (The President) - (The Parson’s Widow) - Leaves from Satan's Book - (Once Upon a Time (1922 film)) - (Love One Another) - (Michael (1924 film)) - (Bride of Glomdal) – The Passion of Joan of Arc - Vampyr - Day of Wrath - (Two People) – Ordet - Gertrud

© thevoid99 2017

Gertrud

Based on the play by Hjalmar Soderberg, Gertrud is the story of an opera singer who goes on a journey to find love and fulfillment through a series of lovers following a breakdown in her marriage. Written for the screen and directed by Carl Theodor Dreyer, the film is a study of a woman trying to find herself in a very personal journey through the men who play major roles in her life. Starring Nina Pens Rode, Bendt Rothe, Ebbe Rode, Baard Owe, and Axel Strobye. Gertrud is a haunting yet mesmerizing film from Carl Theodor Dreyer.

Set in late 19th Century Denmark, the film follows the life of an opera singer who decides to leave her husband for her lover but complications begin to ensue. Especially as it leaves the titular character (Nina Pens Rode) into a personal journey where she would encounter former lovers as it play into a sense of torment and uncertainty about where she’s going. Carl Theodor Dreyer’s script is largely driven by dialogue as there’s not many scenes that occur as it’s more about what Gertrud wants but also what she had in her life. Through the meetings she would have with her husband Gustav (Bendt Rothe), her current lover in pianist Erland Jansson (Baard Owe), a former lover in poet Gabriel Lidman (Ebbe Rode), and a longtime friend in Axel (Axel Strobye). Gertrud copes with the decisions she is making but also ponders the life she leads now and her hopes for a change.

Dreyer’s direction is very entrancing for not just its minimalist approach to the filmmaking but also wanting to not rely too much on style. Featuring less than 90 shots, Dreyer’s emphasis on wide and medium shots rather than close-ups add a lot to what he wanted to tell visually but also in having the drama be told very slowly. Especially where Dreyer would have the actors recite long monologues and dialogue with one another for several minutes that includes one notably scene that lasts nearly 10 minutes in a single take. The camera would move for a few tracking shots and pans but it is mostly about the conversations that are taking place between Gertrud and whoever she is meeting with. Even as the film becomes much crueler in what Gertrud would encounter as Dreyer showcases a world that she has trapped herself in and what she needs to do to escape. Overall, Dreyer creates a compelling yet evocative film about a woman’s personal journey to find herself.

Cinematographers Henning Bendtsen and Arne Abrahamsen do brilliant work with the film‘s black-and-white cinematography to play into some of the gorgeous scenery in the few exterior scenes along with intricate lighting for the interiors as well as some heightened lights for the flashback scenes. Editor Edith Schlussel does nice work with the editing as it is very straightforward with a few fade-outs as transitional cuts along with a few rhythmic cuts for dramatic purposes. Production designer Kai Rasch does excellent work with the look of the home that Gertrud shared with her husband as well as the dining hall sequence where she, Gustav, and several friends celebrate Lidman‘s work. The sound work of Knud Kristensen is superb for its minimalist and sparse approach as it is more about natural elements in the dialogue and objects rather than create a mood for a scene. The film’s music by Jorgen Jersild is wonderful for its string orchestral-based score to play into the drama and some of the melancholic moments in the film while the songs/poems by Grethe Risbjerg Thomsen provide some of the material that Gertrud sings as an opera singer.

The film’s amazing cast features notable small roles from Vera Gerbhur as Gustav/Gertrud’s housekeeper, Lars Knutzon as a student paying tribute to Lidman, and Anna Malberb as Gustav’s mother who appears early in the film unaware of what is happening with her son’s marriage to Gertrud. Axel Strobye is fantastic as longtime family friend Axel who attends Lidman’s tribute dinner as he is concerned for Gertrud’s health at the dinner. Baard Owe is superb as Gertrud’s current over Erland Jansson as this concert pianist who is eager to have a life with her only for things about him are unveiled that would change things.

Ebbe Rode is excellent as the poet Gabriel Lidman who still carries a torch for Gertrud as he wonders why she left him as well as offering a chance to return to him. Bendt Rothe is brilliant as Gertrud’s husband Gustav as a politician that is given the chance for a big position as he still needs Gertrud’s support as he is aware why she’s leaving him but also wants her to stay with him. Finally, there’s Nina Pens Rode in an incredible performance as the titular character as this opera singer seeking a new life away from her husband as she then copes with the realities of her surroundings and the consequences of the decisions she’s made as it’s a performance filled with anguish and torment as well as being told with such restraint as it’s just astonishing to watch.

Gertrud is a phenomenal film from Carl Theodor Dreyer that features a sensational performance from Nina Pens Rode. It’s a film that isn’t just this rapturous study of a woman trying to find herself but also a film that explores a woman’s anguish over the men she’s been with for much of her life. Especially as it’s told in this very intoxicating visual style by Dreyer that is the antithesis for much of today’s conventional approach to cinema. In the end, Gertrud is a remarkable film from Carl Theodor Dreyer.

Carl Theodor Dreyer Films: (The President) - (The Parson’s Widow) - Leaves from Satan's Book - (Love One Another) - (Once Upon a Time) - (Michael (1924 film)) - Master of the House - (Bride of Glomdal) -The Passion of Joan of Arc - Vampyr - (Two People) - Day of Wrath - Ordet

© thevoid99 2016

Ordet

Based on the play by Kaj Munk, Ordet (The Word) is the story of a family who are being torn apart by different views on faith as a farmer struggles to maintain his ideals. Written for the screen and directed by Carl Theodor Dreyer, the film is an exploration on faith and some of its fallacies where a man deals with the growing changes and views of the world around him. Starring Hennik Malberg, Emil Hass Christensen, Cay Kristiansen, and Preben Lerdorff Rye. Ordet is a haunting yet evocative film from Carl Theodor Dreyer.

Set in a small Danish village in the mid-1920s, the film is about two days in the life of a farmer and his family dealing with changing times as well as struggle to keep their faith together as his sons start to diverge into different paths. Especially as it plays into different views where the farmer Morten Borgen (Henrik Malberg) struggles to maintain his ideals in an ever-changing world as his eldest Mikkel (Emil Hass Christensen) has become agnostic though is happily married to Inger (Birgitte Federspiel) who is pregnant with their third child. His youngest son Anders (Cay Kristiansen) is in love with a tailor’s daughter as the tailor Peter (Ejner Federspiel) has now led a Christian-based sect who refuses to offer his daughter to Anders because of his religion. Then there’s Morten’s middle son Johannes (Preben Lerdorff Rey) who has become insane after studying Soren Kierkegaard as he thinks he is Jesus Christ.

Carl Theodor Dreyer’s screenplay does have a traditional structure where it follows a day in the life of Borgen and his family as it opens with Johannes walking out of the house as it’s become routine for the family to fetch him. While Borgen ponders why Mikkel is agnostic, he doesn’t really try to challenge him out of his love for Inger and his granddaughters. Once the story progresses where Inger is about to give birth, Borgen still has to deal with Peter not just over different beliefs but also why he doesn’t want his daughter Anne (Gerda Nielsen) to marry Anders. It then becomes this kind of modern-day take on the Book of Job for the film’s second half as well as raising a lot of questions about faith as well as this growing divide over belief.

Dreyer’s direction is definitely mesmerizing in terms of not just the presentation but also aiming for a cinematic style that is a bit closer to theatre. With its usage of wide and medium shots to capture the depth of field inside a room at the Borgen family house or in its nearby sand dunes. Dreyer would shoot these scenes with very long takes that goes on for 7 minutes at the most as the film features only 114 shots. With the camera circling around on a tripod or a dolly-track along with few pans and such, Dreyer does maintain a sense of intimacy but also to observe these characters dealing with their own doubts in an ever-changing world. There aren’t many close-ups in the film as Dreyer is more concerned with mood of the scene as it can range from being tense to very dramatic as it relates to events in the third act. It’s where the theme of doubt comes in but also about some of the fallacies of faith and why different ideals on faith can do a lot of wrong. Even as Borgen tries to figure out what he’s done wrong to deserve all of what is happening to him. Overall, Dreyer creates a rapturous yet eerie film about a man questioning faith in a new world.

Cinematographers Henning Bendtsen, John Carlsen, and Erik Wittrup Willumsen do amazing work with the film‘s black-and-white photography from the usage of shadows and shades for much of the interiors set in the day and at night to some of the exteriors in the day as it has this air of beauty but also that sense of spirituality that emerges in the film‘s climax. Editor Edith Schlussel does excellent work with the editing where it does have bits of style in its fade-outs and a montage with transition wipes yet much of it is very straightforward. Production designer Erik Aaes does brilliant work with the look of the home that the Borgen family live in as well as the home of Peter the tailor.

Costume designer N. Sandt Jensen does nice work with the period costumes of the time as it plays into a look of the Borgen family as well a modern look of sorts of the town‘s new pastor. The sound work of Knud Kristensen is superb for the naturalistic approach to the sound from the way wind is heard inside a room to some of the scenes outside at the farm. The film’s music by Poul Schierbeck is wonderful as it is mostly low-key orchestral music to play into the drama while the songs by Sylvia Shierbeck are essentially variations of traditional music that is often played in churches.

The film’s incredible cast include notable small roles from Ove Rud as the new pastor, Henry Skjaer as the town doctor, Hanne Agesen as the Borgen’s main servant, Sylvia Eckhausen as Peter’s wife Kirstin, Susanne and Ann Elisabeth Rud as Mikkel and Inger’s daughters, and Gerda Nielsen as Peter’s daughter Anne that Anders wants to marry. Ejner Federspiel is superb as Peter Petersen as the town’s tailor/Christian pastor who objects Anders proposing to Anne as he would also try and convince Borgen to switch religions. Cay Kristiansen is terrific as Borgen’s youngest son Anders as a young man that is in love with Anne but couldn’t believe why he couldn’t marry her as he deals with the ways of the world. Birgitte Federspiel is excellent as Mikkel’s pregnant wife Inger who is considered the family caretaker as she’s adored by her father-in-law while understanding Mikkel’s growing lack of faith.

Perben Lerdorff Rye is brilliant as Johannes as a troubled man who thinks he’s Jesus Christ following a mental breakdown where he says mysterious things often to create doubt in front of his father. Emil Haas Christensen is amazing as Mikkel as the eldest son of Borgen who doesn’t follow anything thinking that things happen until he encounters something that couldn’t be explained as he struggles with this growing reality. Finally, there’s Henrik Malberg in a tremendous performance as Morten Borgen as a farmer who struggles to maintain his ideals as he copes with not just some of the prejudice he faces but also tries to hold on to his faith in a world that is changing as well as becoming more complicated.

Ordet is a phenomenal film from Carl Theodor Dreyer. Featuring a great cast as well as engaging and provocative themes of faith and doubt, it’s a film that manages to raise a lot of questions about religion but also some of its fallacies. In the end, Ordet is a remarkable film from Carl Theodor Dreyer.

Carl Theodor Dreyer Films: (The President) - (The Parson’s Widow) - Leaves from Satan's Book - (Love One Another) - (Once Upon a Time) - (Michael (1924 film)) - Master of the House - (Bride of Glomdal) - The Passion of Joan of Arc - Vampyr - (Two People) - Day of Wrath - Gertrud

© thevoid99 2016

Day of Wrath

Based on the play Anne Pedersdotter by Hans Weir-Jenssen, Vredens Dag (Day of Wrath) is the story of a pastor’s wife who falls for her stepson during the seventeenth century as she causes scandal. Directed by Carl Theodor Dreyer and screenplay by Dreyer, Poul Knudsen, and Mogens Skot-Hansen, the film is an exploration into social repression and morals where a woman finds herself dealing with her sins as well as the world that she’s in. Starring Thorkild Roose, Lisbeth Movin, Sigrid Neiiendam, Preben Lerdorff Rye, and Anna Sveirkier. Vredens Dag is a chilling yet mesmerizing film from Carl Theodor Dreyer.

Set in 1623 in a small Danish village, the film is an exploration into sin, regrets, and morals where villagers are afraid of those who may be connected with Satan and witchcraft. Yet, the film takes it time to explore a young woman named Anne (Lisbeth Movin) who marries the town’s pastor Absalon Pedersson (Thorkild Roose) much to the chagrin of his mother Meret (Sigrid Neiiendam) who despises Anne. With the arrival of the pastor’s son Martin (Preben Lerdorff Rye), Anne falls for him while dealing with a woman she knows named Herlof’s Marte (Anna Sveirkier) who has been accused of witchcraft as she asks the pastor to be spared. Even as she carries a secret about Anne’s mother that only she and the pastor knows which eventually would cause trouble where Anne’s feelings for Martin would also create more trouble.

The film’s screenplay has a unique structure where the first half is about Anne being part of a new family and meeting her stepson as well as the secret that Marte has been carrying as she is trying to hide from the authorities. Even as she has to confess, it is clear that she’s innocent but various religious officials aren’t so sure as it would lead to her unfortunate fate. Yet, it is the pastor that is the one person that can save her as he knows a secret that relates to his wife’s late mother as becomes consumed with guilt over this secret as well as feeling some doubt over his role. The second half is about not just Anne and Martin’s affair but the growing doubt that the pastor has as he becomes suspicious of the changes around his house as well as his own doubts about his marriage.

Carl Theodor Dreyer’s direction is quite simple yet also very compelling in the way he observes the life of a family as well as the world that is happening around them. Especially as he sets it at a time that has similarities to what is happening in early 1940s Denmark where it was under the occupation of Nazi Germany. Though some very stark yet haunting religious imagery, the film does have these long yet gazing shots where it takes it time to play out the drama. Even where Anne’s hair in the first half looks very blond as she seems to embody the idea of innocence until the second half where she starts to act towards her passions where her hair is darker and her face is much more demonic in some ways as if she’s scheming to do something. Especially in the climax where it would play to some tragedy as well as some revelations about who her mother is. Overall, Dreyer creates a very fascinating yet brooding film about witchcraft, social morals, and a world that is frightened by changes.

Cinematographer Karl Andersson does brilliant work with the film‘s black-and-white cinematography to play with its unique look for its first half while using shadows and shading to create an unsettling atmosphere for much of the film‘s second half. Editors Anne Marie Petersen and Edith Schlussel do excellent work with the editing with its use of fade-outs to play with its structure while using slow, methodical cuts to create tension in the drama. Art director Erik Aaes and set decorator Lis Fribert do fantastic work with the look of the home of the pastor as well as some of the exterior in the villages.

Costume designers Karl Sandt Jensen and Olga Thomsen do wonderful work with the costumes from the black-and-white dresses the women wear as well as the clothes the men wear to play out the religious element of the film and how it seems to suppress the characters in some respects. The sound work of Erik Rasmussen is terrific for playing up some of tense atmosphere of the film including a scene in the third act that involves a windy day where the pastor deals with a dying man while the rest of the family are at home. The film’s music by Pour Schierbeck is amazing for its somber yet haunting orchestral score to play out the drama and sense of terror that occurs over the idea of witchcraft.

The film’s cast is marvelous as it features some notable small performances from Albert Hoeberg as a bishop and Olaf Ussing as a dying man the pastor looks into late in the film. Anna Sveirkier is excellent as Herlof’s Marte as a woman who is accused of witchcraft as she tries to prove her innocence as she turns to the pastor for help. Sigrid Neiiendam is superb as the pastor’s mother Merete who loathes Anne as she thinks she’s up to no good while trying to get Martin to see the truth. Preben Lerdorff Rye is brilliant as Martin as a man who returns home as he is entranced by Anne while dealing with his father’s sense of doubt.

Thorkild Roose is amazing as Reverend Absalon Pedersson as a man who deals with the guilt over what he did to Marte as well as the secret he carries about Anne’s mother as he becomes consumed with doubt. Finally, there’s Lisbeth Movin in a phenomenal performance as Anne as this woman who falls for her stepson while dealing with the possibility that she might not be in love with her husband as she descends into darkness after learning about her mother where she does things to get her way.

Vredens Dag is a remarkable film from Carl Theodor Dreyer. With its captivating take on sin and a world ravaged by fear and accusations, it’s a film that showcases a similarity to what Dreyer was going through in Denmark in the 1940s and how it doesn’t feel much different to what was happening in the 17th Century. It’s also an entrancing film filled with gorgeous images as well as great work from its cast. In the end, Vredens Dag is a phenomenal film from Carl Theodor Dreyer.

Carl Theodor Dreyer Films: (The President) - (The Parson’s Widow) - Leaves From Satan's Book - (Love One Another) - (Once Upon a Time) - (Michael (1924 film)) - Master of the House - (Bride of Glomdal) - The Passion of Joan of Arc - Vampyr - (Two People) - Ordet - Gertrud

© thevoid99 2013

The Passion of Joan of Arc

Written, edited, and directed by Carl Theodor Dryer that is inspired by Joseph Delteil‘s book, La Passion de Jeanne d’Arc (The Passion of Joan of Arc) is the story of Joan of Arc’s capture by the English as she’s put onto trial where she tries to defend herself against the English. The film is an exploration into Joan of Arc’s life and her defiance against those as she claims about doing God’s will. Starring Renee Jeanne Falconetti, Eugene Silvain, Andre Berley, and Maurice Schutz. La Passion de Jeanne d’Arc is an astonishing yet riveting film from Carl Theodor Dreyer.

The film is essentially a dramatic interpretation of Joan of Arc’s trial where she is being persecuted by the English over witchcraft and heresy. During this trial, judges and priests try to get Joan to sign a false confession in order to save her life as they even try to manipulate her. Joan continually defies the English claiming she’s just doing what God is asking her to do. Yet, she does eventually sign her confession only to recant everything she had said feeling she’s just doing wrong out of fear as she gains the courage to face her death. It’s a story that is told with a lot of simplicity as it is based largely on transcripts on what had happened at the trial.

While there isn’t much plot to the film as it largely takes place in a courtroom, it is all about Joan of Arc’s defiance against the English who are accusing her and doing whatever to break her. What is most compelling about the story is Joan’s devotion to God as she is just stating what she believes in as she is continually being questioned by bishops and treated with cruelty by guards. To the people outside of the courtroom, they see Joan as a saint and what happens to her inspires a passionate response. Even those at the trial such as a young priest realized what was done was unjustified.

Carl Theodor Dreyer’s direction is very engaging for the way he frames the film as well as the close-ups he creates to express the heightened emotions of the film. Notably with Joan of Arc who is always looking up in the air as she is trying to communicate with God waiting for an answer from him. Dreyer’s camera work is very entrancing in the way he frames everything as he always have the camera looking up at the bishops while keeping things straight for Joan of Arc. There’s also some stylish shots from above or under to display the kind of chaos that occurs with the crowd as they watch Joan of Arc accept her fate. Dreyer also creates some unique imagery to emphasize the idea of faith as it’s the one thing Joan of Arc is clinging to. Through some effective yet rhythmic cutting, Dreyer keeps things intense as well as methodical to see how far these men will break. Overall, Dreyer creates a truly mesmerizing portrait about Joan of Arc and how she defied those who questioned her faith.

Cinematographer Rudolph Mate does brilliant work with the film‘s black-and-white photography to maintain lots of coverage for the film‘s intimate framing as well as utilizing lighting schemes to display the authority figures. Art director Herrmann Warm does amazing work with the sets from the courtroom to the scenes outside of the castle. The costumes of Valentin Hugo is wonderful for the period that is created from the robes the bishops and priests wear to the ragged clothes of Joan. For the film’s mid-1990s reissue, composer Richard Einhorn creates a sprawling oratorio that plays to the emotions and drama that is played out in the film as it’s definitely a highlight of the film.

The film’s superb cast includes some notable performances from Michel Simon as a judge, Maurice Schutz and Andre Berley as a couple of bishops involved in the trial, and Eugene Silvain as the lead bishop Pierre Chaucon. Finally, there’s Renee Jeanne Falconetti in the role of Joan of Arc where Falconetti gives a truly unforgettable performance as this young woman trying to hold on to her faith as she is being pushed around by many people in order to break her as it’s definitely a performance for the ages.

La Passion de Jeanne d’Arc is a magnificent film from Carl Theodor Dreyer about the trial and death of Joan of Arc. Featuring a captivating performance from Renee Jeanne Falconetti as well as dazzling images, it is truly one of the great films of the silent film era as well as one of the definitive films about Joan of Arc. For those new to Dreyer, this film is definitely the best place to start. In the end, La Passion de Jeanne d’Arc is an incredible film from Carl Theodor Dreyer.

Carl Theodor Dreyer Films: (The President) - (The Parson’s Widow) - Leaves from Satan's Book - (Love One Another) - (Once Upon a Time) - (Michael (1924 film)) - Master of the House - (Bride of Glomdal) - Vampyr - Day of Wrath - (Two People) - Ordet - Gertrud

© thevoid99 2012

Leaves from Satan's Book

Directed by Carl Theodor Dreyer and written by Dreyer and Edgar Hoyer, Blade af Satans bog (Leaves from Satan’s Book) is a loose take on Marie Corelli’s The Sorrows of Satan where Satan is cast out from Heaven as he’s sent to Earth to tempt man through four different periods in time. The film explores the world of temptation and resistance as well as faith from the perspective of Satan in this very ambitious and broad tale of humanity. Starring Helge Nissen as Satan. Blade af Satans bog is a captivating film from Carl Theodor Dreyer.

The film is essentially the story of Satan trying to do evil deeds by manipulating those to see if they can give in to temptation. Through these four different periods of time where he tests various individuals to see if they give in or not, he wonders if it will get him back to Heaven. In the course of the film, Satan serves as the instigator of these deeds to see how it would impact certain historical events by manipulating a few people to see how it would effect these key moments in history. Among these different periods are the final days of Jesus Christ, the Spanish Inquisition, the French Revolution where Marie Antoinette (Tenna Kraft) is to be beheaded, and the Finnish Civil War between the Communist Reds and the non-socialist Whites.

The film’s screenplay has a unique structure in which the story opens with inter-title cards to establish what Satan has to do to reduce his sentence as he remains banished for eternity. Through the words of God, if someone gives in to Satan’s temptation. A hundred years is added to the sentence. If someone resists, a thousand years is taken away from the sentence. Throughout the course of each different time period, Satan has to endure the evil deeds he has to do as he watches from afar to see people be punished or killed as those who are responsible are the ones who give in to his temptation. By disguising himself in various forms including the Grand Inquisitor, a political leader of the Revolutions, and a Reds leader. He has to see how far he can go into pushing people’s buttons.

Carl Theodor Dreyer’s direction is very mesmerizing for the way he presents the film with its unique approach to framing as well as creating scenes that revel in its imagery. Notably in the four different time periods as he recreates the Last Supper with wide shots and close-ups along with the scenes of the Spanish Inquisition, the French Revolution, and the Finnish Civil War. By going into these very different periods of time and in different landscapes, Dreyer gives each story the chance to establish itself through inter-title cards as well as in the scenes themselves which reveal a lot that is going on through Satan’s actions. Even as the story progresses to the point Satan himself has to come in and tell the person he had just manipulated about the implications of that person’s actions. Overall, Dreyer creates a truly hypnotic yet engrossing film about faith and temptation.

Cinematographer George Schneevoigt does superb work with the film‘s photography by using various color filters to play out many of the film‘s scenes to help create a mood and style for these very different sequences. Art directors Axel Bruun and Jens G. Lind do amazing work with the set pieces such as the look of the Last Supper, the torture room of the Inquisition, the prisons at the French Revolution, and the home of the couple in the Finnish Civil War scene. The music of Philip Carli, from its 2004 reissue, is brilliant for its piano-driven score that plays to the very different moods of the film along with a take of Les Marseilles in the French Revolution sequence.

The film’s cast is great for the ensemble that is created as it features superb performances from Halvard Hoff as Jesus and Jacob Texiere as Judas in the first segment. In the Spanish Inquisition segment, there’s terrific performances from Hallander Helleman as a don, Ebon Strandin as the don’s daughter, and Johannes Meyer as the tempted monk who joins the Inquisition. In the third segment at the French Revolution, there’s wonderful performances from Viggo Wiehe as the Count de Chambord, Emma Wiehe as the countess, Jeanne Tramcourt as their daughter, Emil Helsengreen as the People’s Commissar, Elith Pio as the count’s servant who is tempted to join the Revolution, and Tenna Kraft as Marie Antoinette.

For the fourth and final segment in the Finnish Civil War, there’s excellent performances from Clara Pontoppidan and Carlo Wieth as a couple working for the Whites, Karina Bell and Christian Nielsen as Whites soldiers, and Carl Hillebrandt as a former friend of the couple who joins the Reds. The film’s best performance goes to Helge Nissen as Satan where he takes on various disguises in his look as a man trying to test people in his quest to find some form of redemption despite the evil deeds he does as it’s a very haunting performance from Nissen.

Blade af Satans bog is an incredible film from Carl Theodor Dreyer that explores the world of faith and temptation. It’s a film that is truly relevant in its themes where it reveals a lot into the decisions that people would make that would impact historical events. It’s also a film that revels explores Satan as a person or whatever he is to unveil the kind of role he has to play in the world. In the end, Blade af Satans bog is a mesmerizing film from Carl Theodor Dreyer.

Carl Theodor Dreyer Films: (The President) - (The Parson’s Widow) - (Love One Another) - (Once Upon a Time) - (Michael (1924 film)) - Master of the House - (Bride of Glomdal) - The Passion of Joan of Arc - Vampyr - Day of Wrath - (Two People) - Ordet - Gertrud

© thevoid99 2012

Vampyr

Based on the supernatural stories In a Darkly Glass by J. Sheridan Le Fanu, Vampyr is about an occult student who enters a village that is under the curse of vampires. Directed by Carl Theodor Dreyer and screenplay by Dreyer and Christen Jul, the film marks Dreyer’s first time using sound to convey the world of horror as well as the world of vampires. Starring Nicolas de Gunzburg, Maurice Schutz, Rena Mandel, Sybille Schmitz, and Henriette Gerard. Vampyr is an extraordinary film from Carl Theodor Dreyer.

Allan Gray (Nicolas de Gunzburg) arrives at the small village of Courtempierre where he encounters all sorts of strange things in this remote village as he stays at an inn. Arriving into the inn to meet the occult-obsessed Gray is an old man (Maurice Schutz) who gives him a package that has a message to not open it until the old man dies. Gray treks around the village’s surroundings as he sees all sorts of strange things where he meets a mad doctor named (Jan Hieronimko) who lives at the house. Gray leaves the place as he walk towards a manor owned by the old man who has two daughters in Gisele (Rena Mandel) and the ailing Leone (Sybille Schmitz) where he sees the old man shot. Gray tries to save the old man as he wonders what is going on. Staying at the manor with Gisele, Gray opens the package he was given as it is revealed to be a book about vampires.

After Leone leaves the house in a trance as she’s found bitten, Gray and Gisele call for a doctor as the mad doctor arrives asking for Gray’s blood to save Leone. Gray gives the blood but remains suspicious about the doctor as does the manor’s old servant (Albert Bras) who reads the vampire book as they both make a chilling discovery. When Gisele suddenly disappears, Gray tries to find her as he has a strange vision about what is happening until the old servant finds a way to stop this curse from happening in order to save the lives of Gisele and Leone.

Stories revolving around the myth of vampires often has a lot of schematics about how to deal with vampires and the mystery that surrounds them. In this film, it revolves around a young occult student who enters this village where there’s a curse surrounding the village as he discovers the world of vampires. It’s a simple premise that doesn’t require a lot of dialogue but a lot of expository inter-title text to reveal more about the world of the vampires. The screenplay is quite minimalist in its presentation and plotting as it is about this young man who enters a strange world where he tries to save a few people and make discoveries about the world of vampires.

The direction of Carl Theodor Dreyer is truly exquisite in its presentation from the way he frames certain scenes to the usage of special effects he creates to showcase a world that is out of the ordinary. Notably in how he presents the strange world of the vampire estate where he creates all sorts of strange shots such as a shadow digging something backwards, ghosts surrounding the place, all sorts of other strange shadows. Dreyer also creates an element of suspense that occurs throughout in some key scenes such as Leone’s escape from the house and the arrival of the village doctor. Even as it leads to an entrancing moment in the third act where Gray imagines the consequences of what could happen as Dreyer maintains this brooding sense of atmosphere to play out the drama. Overall, Dreyer creates a very captivating and hypnotic film that revels into the mysticism of vampires.

Cinematographer Rudolph Mate does amazing work with the film‘s black-and-white photography to create an atmosphere for some of the film‘s chilling moments in its daytime exteriors along with some scenes in the film‘s interiors involving the shadows. Dreyer and co-editor Tonka Taldy do some terrific work in the editing by creating some methodical cuts for the film‘s suspenseful scenes as well as more straightforward edits in the dramatic portions. Art director Herrmann Warm does nice work with the set pieces such as the inn that Gray stays at to the lavish look of the manor as well as the more decayed look of the estate that the doctor lives in.

The special effects work of Henri Armand is incredible for the atmosphere that is created in the way the ghosts look as well as scenes involving the shadows as it‘s truly stunning considering what they had to do at the time. Sound editor Paul Falkenberg does superb work with the sound to capture the atmosphere in the locations to play up the sense of dread that occurs throughout the film. The film’s music by Wolfgang Zeller is brilliant for its flourishing orchestral score that plays out the drama and suspense of the film as Zeller’s arrangements also includes some tender moments in the music.

The film’s excellent ensemble cast features some notable small performances from Georges Boidin as the limping, one-legged soldier, Jane Mora as the nurse, Albert Bras as the resourceful manor servant, N. Babanini as the servant’s wife, Sybille Schmitz as the ailing Leone who is in control the vampire, and Henriette Gerard as the mysterious old lady at the vampire estate. Maurice Schutz is wonderful as the mysterious manor lord who comes to Gray with a message while leaving him instructions to deal with the vampire. Jan Hieronimko is great as the mad doctor who carries this eerie presence that makes the audience aware that there is something not right about him.

Rena Mandel is terrific as the manor lord’s daughter Gisele who tries to deal with the mysterious things that are happening as she helps out Gray. Finally, there’s Nicolas de Gunzburg as Allan Gray where he creates a superb performance as a young man bewildered by the mystery around him as he tries to help out those who are afflicted by the vampire.

Vampyr is a chilling yet evocative film from Carl Theodor Dreyer. It’s a film that explores the world of the vampires from the perspective of a young man who is intrigued by his surroundings and myths. It’s also a film that doesn’t play to the conventional aspects of the vampires by just focusing on those afflicted by the creature. In the end, Vampyr is brooding yet exhilarating film from Carl Theodor Dreyer.

Carl Theodor Dreyer Films: (The President) - (The Parson’s Widow) - Leaves from Satan’s Book - (Love One Another) - (Once Upon a Time) - (Michael (1924 film)) - Master of the House - (Bride of Glomdal) - The Passion of Joan of Arc - Day of Wrath - (Two People) - Ordet - Gertrud

© thevoid99 2012

Medea (1988 TV film)

Based on the Greek tragedy written by Euripides, Medea is the story of a woman who seeks revenge on her husband following a betrayal. The 1988 TV film version is directed by Lars von Trier with an unreleased screenplay written by legendary Danish filmmaker Carl Theodor Dryer and Preben Thomsen. With additional work by von Trier, the TV movie would explore some of the themes of women and the sacrifices they’ve made that von Trier would delve into for his work in the late 1990s. Starring Kirsten Olesen, Udo Kier, Henning Jensen, Baard Owe, Solbjord Hofeldt, Preben Leidorrf Rve, and Ludmilla Glinska. Medea is a visually-arresting yet chilling TV film from Lars von Trier.

After being betrayed by her husband Jason (Udo Kier) following the Golden Fleece adventures as he is to be rewarded by King Creon (Henning Jensen) who gives Jason his daughter Glauce (Ludmilla Glinska). Medea (Kirsten Olesen) vows revenge for Jason’s betrayal as Creon and, later on, Jason each plea for Medea to make a case for her upcoming exile from the land. However, Medea has plans of her own as she gains refuge from oracle leader Aegeus (Baard Owe) in return to help him with wanting a child for himself and his wife. Before she goes to Athens with Aegeus, she would meet Jason one final time to make way for her revenge on him.

The TV film based on Euripides’ play is essentially a tale of revenge where a scorned woman makes a plan to seek revenge on her husband who betrayed her for power, wealth, and a younger woman. In turn, she decides to make a plan for him to suffer in the same way she has suffered in his betrayal but in the most extreme way. The script by Carl Theodor Dreyer and Preben Thomsen, with additional work by Lars von Trier, has a very theatrical feel to its dialogue and scene placements. Still, it’s all about this woman’s desire for revenge as she would do things to make her husband suffer where she would also sacrifice something to ensure that suffering. There’s not much plot to the script although there are some well-rounded characters. It all revolves around Medea and her own plans for vengeance.

While Lars von Trier’s direction has a great degree of visual style where some of it owes to the work of Dreyer. Some of the visual trick he uses such as gazing images of nature is definitely inspired by the works of Andrei Tarkovsky. While the film opens with text where von Trier claims he’s not trying to make a Dreyer film. Some of what von Trier is claiming is sort of true as he employs some hand-held work into some of the intimate moments and medium shots in the film. The landscape shots have this wide depth of field where it includes some aerial work involved. One of the key elements of style von Trier uses in the film are superimposed images to create this very surreal world that the characters live in as it works to maintain that sense of fantasy. Overall, von Trier has created a truly dazzling TV film that is provocative but also captivating.

Cinematographer Sejr Brockmann does an excellent job with the film‘s grainy yet monochrome cinematography that gives the TV film a very entrancing look with some dreary settings for the swamp scene where Croen tries to talk to Medea. Editor Finnur Sveinsson does a nice job with the editing that is quite stylized with its use of jump-cuts and fade-outs while maintaining a leisured pace for the TV film. Costume designer Annelise Bailey does a very good job with the period costumes made such as Medea‘s black dress to the more free-flowing dress of Glauce.

The special effects by Soren Buus does an extraordinary job with the visual effects created to add a surrealism to the fantasy sequences that occur between Medea and Jason. Sound editor Thomas Krag does a terrific job with the sound work to emphasize the chilling atmosphere of the exteriors to the hollow sounds of the castle Creon lives in. The music of Joachim Holbek is truly haunting from its brooding orchestral pieces to more ominous electronic touches to play up the dramatic portions of the TV film.

The cast for the TV film is wonderful as it features appearances from Solbjorg Hojfeldt as Medea’s nurse, Preben Lerdorff Rye as the king’s right-hand man Pedagog, and in the role of Medea and Jason’s son, Jonny and Richard Kilde. Notable supporting roles including Henning Jensen as the powerful King Creon, Baard Owe as rival king Aegeus, and Ludmilla Glinska as the innocent yet beautiful Glauce (whose voice is dubbed by Mette Munk Plum). Udo Kier is excellent as the ambitious Jason who betrays Medea for power as Kier brings a chilling approach to his performance though his voice is dubbed by another actor in Dick Kayso. Finally, there’s Kirsten Olesen in the titular character as Olesen brings a very dark yet cunning approach to the character that feels wrong as there’s also an entrancing sense of anguish over what she plans to do as it’s a very mesmerizing role from Olesen.

Medea is a dark yet very hypnotic film from Lars von Trier that features a script from the late Carl Theodor Dreyer. While the film is among one of von Trier’s weakest works of his career, it is still an interesting one in where he would get some of the visual ideas for his next film Europa and the themes he would explore in the late 90s-2000 Golden Hearts trilogy. In the end, Medea is a stellar yet ominous TV film from Lars von Trier.

Lars von Trier Films: The Element of Crime - Epidemic - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2-Idioterne - Dancer in the Dark - Dogville - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2012