Carl Theodor Dreyer
Carl Theodor Dreyer
The Passion of Joan of Arc (1928)
RANKED:
8. The Parson's Widow (1920)
At the start of his career, Carl Theodor Dreyer began experimenting with the kind of filmmaking concepts for which he would become known. In "The Parson's Widow," Dreyer slows things down and lets the viewer sit in on the events happening on the screen. He does this using long takes, close-ups, and 360-degree camera angles. Rather than rushing the viewer through a linear set of events, Dreyer lets us spend time with his characters. Despite this film not being well acclaimed in its day, many consider this an ignition point to a powerhouse career.
7. Michael (1924)
1924's "Michael" is considered a landmark film due to its depiction of homosexual relationships. In the film, a famous painter loses his partner, Michael, to a gold-digging countess. Despite the countess using Michael to steal from him, his love does not waver. The film contains characters all wanting after someone who does not share their affections fully in return. To achieve the dynamics of these relational dramas, Carl Theodor Dreyer uses long takes with the characters. He also employs many close-ups to allow the audience to really understand the subtle emotional elements at play. Despite being unrecognized in its time, "Michael" remains a landmark piece of gay cinema.
6. Master of the House (1925)
Before creating the 1928 masterpiece, "The Passion of Joan of Arc," Carl Theodor Dreyer cemented his cinematic style with "Master of the House." The film takes place in a single apartment, as the women of the house teach the patriarch a valuable lesson. He behaves tyrannously until the wife leaves and he is forced by the nanny to do all the domestic chores in her absence. Dreyer uses his signature close-ups to capture the emotional resonance of the characters involved. He even created a set with movable walls so that he could film his subjects from whatever angle or closeness he chose. The film is not a masterpiece like its predecessor, but it alluminates the directional style that Dreyer would come to be known for.
5. Gertrud (1964)
When Carl Theodor Dreyer's "Gertrud" first premiered in 1964, it was met with an incredible division of opinion. Dreyer had been known for making films few and far between. His films were often incredibly slow-paced and contained heavy dialogue. With "Gertrud," he cranked that up to 11. The film is known for its incredibly long takes, some even lasting up to ten minutes. It also consists of nothing but dialogue for the film's entire 2-hour runtime. However, if you are able to sit still and listen, you will see that the film is about communication, or a lack thereof. The titular Gertrud stands firm in her convictions and decisions in life. Being that this is his last film, many believe that this is Dreyer's official statement on his career, owning up to artist choices that have divided many for decades. Like the protagonist, Dreyer stands firm on his retrospective career as an artist.
4. Vampyr (1932)
As the age of Expressionism was coming to a close in Germany, Danish director Carl Theodor Dreyer provided his entry into the filmmaking style. After seeing the American "Dracula," Dreyer felt that he could make a proper horror film. However, unlike the American horror series of the time, Dreyer went for something more experimental. Dreyer crafted a film that meditates on death using ambiance, camera tricks, and expressionist imagery. The plot of "Vampyr" gets tricky to follow, which becomes the point as this becomes used against you. Rather than focusing on what IS happening, you begin to focus on what COULD happen, as uncertainty starts to become oppressive. The slow pace, eerie happenings, and overt danger allows for a viewing experience in which you can't seem to get a handle on anything. The result is a film that stews in its own sense of danger, allowing the viewer more time to ruminate on death itself and how it lurks behind every corner.
3. Ordet (1955)
It is hard to put into words just how strange and wonderful Carl Theodor Dreyer's "Ordet" is. Following the life of the Borgen family, Dreyer spends enormous amounts of time listening to their religious and philosophical takes on life and death. When they are suddenly faced with a fatal trial, they (and we) begin to search for reason. What does it all mean? Is there a God? How do we make sense of it all? These are questions that we can never truly know the answer to. But, they are important questions to ask. For the Borgen family, there seems to be a lack of faith in the miraculous. That is until something miraculous ends up actually happening.
2. Day of Wrath (1943)
During the Nazi occupation of Denmark in 1943, Carl Theodor Dreyer created a landmark film that dealt with the oppressive temperament of the nation. "Day of Wrath" takes place in a small Danish village in 1623. After a young girl is married to an old pastor against her will, she begins to act out - despite the constant accusations of witchcraft surrounding her. Dreyer infuses the concept of lingering death in every frame. This constant fear of death is what incites all the characters' behaviors. It not only incites the need for strict totalitarian rule, but the need to resist that rule as well. The film is a slow burn, as it moves anxiously toward a certain doom. Many who saw the film in 1943 drew parallels between the torturing and burning of innocent women believed to be witches and the Nazi persecution of Jews across the country. It is a film that perfectly encapsulates a tense and oppressive moment in time in Danish history.
1. The Passion of Joan of Arc (1928)
Not only is it considered one of the greatest silent films ever made, but "The Passion of Joan of Arc" is also considered one of the greatest films ever made. Most known for being told entirely through close-ups, the film centers on the tragic heroine Joan of Arc, as she faces her final moments. The groundbreaking use of intense close-ups in the film allowed viewers to empathize with a single character unlike anything before in cinema, or even since. Also, Maria Falconetti's heartbreaking performance is cited by many as being the greatest piece of acting ever put to screen. The film demonstrates the pain of her sacrifice and the hypocrisy of those around her. When a single voice raises itself to the corruption of the state, a hero is born. Carl Theodor Dreyer ensured her sainthood by visually mirroring the sacrifice of Jesus. Like Jesus, Joan was crucified for her own values and convictions. Because of this, she is lauded for her bravery and sacrifice. Through the direction of Dryer, her pain and suffering do not go to waste, as it transcends time through the film screen and reaches through it to shake the emotional resonance of the viewer.
Comments
Post a Comment