Michael (1924)

 Carl Theodor Dreyer's "Michael"


Carl Theodor Dreyer's "Michael" is considered a landmark film due to the fact that it was one of the first films to openly deal with homosexual relationships, with 1919's "Different from the Others" coming prior. "Michael" marked a departure for Dreyer, as it was the first film he made in Germany. Despite the bold nature of the subject matter, the film was not well received for many reasons (the disdain for the homosexual plot being one of these reasons). 

The film centers on a famous painter named Claude Zoret. Claude is in love with his model, Michael. The two seem to be satisfied lovers until an economically destitute countess begins seducing Michael. Despite the fact that she uses him to steal from Claude, Michael is drawn to her and even helps her in the thieving of his master. Despite knowing this, Claude cannot move himself to punish Michael due to his undying love. One day, Claude falls ill. Charles Switt, his loyal accountant, lies by his bedside. It has been revealed that Charles has been in love with Claude. After Claude's death, Charles breaks the news to Michael that his master is dead. 

What seems most important about the film is the relationship between all of the various characters. Claude is in love with Michael, and yet Michael cannot return this love in the end. Michael is in love with the countess, but she is only using him for his financial connection to Claude. Charles is in love with Claude, but Claude cannot love him in return due to his love for Michael. All of the characters long for someone who doesn't reciprocate their feelings in full. It is this that the entire film rests on its themes. Despite all of the characters being together, they couldn't be more separated.

Dreyer is able to achieve the drama of these intertwined relationships through his slow-moving camerawork. Dreyer, in taking some of the techniques learned from his hero, Victor Sjostrom, really spends lots of visual time with his characters, rather than jumping through the film with quick edits. Not only this, his extended use of close-ups allows a viewer to really sit with the emotions of a character at any particular moment. The effect becomes a detailed sit-it with the characters, engrained in the minute and subtle emotions at play. 

The slow nature of the film was one of the reasons that critics and audiences did not take a liking to this film. Mordaunt Hall of "The New York Times" wrote: "["Michael"] is a dull piece of work." The homosexual elements also upset many viewers. Overall, the film was not well received and was lauded as dull and romantically perverse. Despite this, film historians look to this film as a landmark piece of both German cinema and in the work of Carl Theodor Dreyer.



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