Flesh and Soul - The Films of Dreyer

FLESH AND SOUL

Flesh and Soul: The Films of Carl Theodor Dreyer is a series of the Danish Master’s works from the silent era to his latest in the 60’s as presented by the Cinematheque Ontario.

Most works are seldom seen in North America.  The silent ones are presented with live piano accompaniment – which alone is quite the experience.

Dreyer is regarded by many famous directors (Jean Luc Godard, Lars Von Trier) as an important influence to both their works and to the cinema.  As in the words of Dreyer, the soul of the artist is revealed in the style and expression of his material.  And in Dreyer’s films, there is much to be revealed – from his weighty religious ORDET to the torturous PASSION OF JOAN OF ARC.

For more information of films, venue and showtimes, click on:
http://www.cinemathequeontario.ca

The list of Dreyer films screened:

DAY OF WRATH

GERTRUD

LEAVES FROM SATAN’S BOOK

LOVE ONE ANOTHER A.K.A. THE STIGMATIZED ONES

MEDEA

MIKAËL

ONCE UPON A TIME

ORDET

THE BRIDE OF GLOMDAL

THE MASTER OF THE HOUSE A.K.A. THOU SHALT HONOUR THY WIFE

THE PARSON’S WIDOW

THE PASSION OF JOAN OF ARC

THE PRESIDENT

THEY CAUGHT THE FERRY

TWO PEOPLE

VAMPYR A.K.A. THE STRANGE ADVENTURE OF DAVID GRAY; CASTLE OF DOOM

VIVRE SA VIE

4 films will be capsule reviewed:

GERTRUDE (Denmark 1964)
(Screening March 10)
(review will be posted Feb 26th)

ORDET (Denmark 1955) ****
(Screening Feb 9th)

For those unfamiliar with Dreyer’s work, ORDET (THE WORD) feels at times like an Ingmar Bergman film with its religious Scandinavian figures (and mention of a grim reaper) hovering around in a black and white background.  The film begins with a scene that looks like a beach by the sea-side.  But never is the sea seen at any point in the film.  The film is set in the sand dunes of West Jutland in Northern Denmark (actually a really beautiful place – I have been there) where a religious community resides.  The film centres on the patriarch of such a religious affected family - Morten (Henrik Malberg), a man of waning faith.  Morten’s faith is put to the ultimate test when his daughter-in-law Inger (Brigitte Federspiel) experiences difficulty during her pregnancy when promising him his first son.  Meanwhile the eldest (Preben Lerdorff Rye) has lost his mind, thinking himself to be Jesus Christ.  The film really grabs you due to Dreyer’s camera work (long takes and camera often following – not necessarily tracking - his characters around the claustrophobic house) and his expertise in eliciting equal astonishing performances from all his actors.  Despite the film’s overall theme of death, faith and the devil, ORDET’s ending involves a tear moving miracle.  Still, never has a film with a happy ending been so grim. 

THE PARSON’S WIDOW (Sweden 1921 silent)
(Screening Feb 28)
(review will be posted Feb 26th)

LA PASSION DE JEANNE D’ARC (France 1928 silent) ****
(Screenings: Feb 6th and 12th)

THE PASSION OF JOAN OF ARC is a no-nonsense harrowing account of the last 8 hours of the life of this martyred saint according to the French court’s actual trial records.  But it is played out with all the agony and passion that can probably be mastered by this film’s director and actress.  Jeanne d’Arc (Maria Falconetti) refuses to sign a confession and is burnt at the stake.  Don’t expect to cringe at the melting of body flesh but the cringing comes from the torturing of the human soul as she suffers under the fate of (what Dreyer ensures his viewer realizes) human folly and pride.  The use of extreme close-ups and lengthy takes enhances the torture.  Dreyer’s film is not easy to take but the viewing is doubtless rewarding.  This is pure cinema at its best.  The film is screened with live piano accompaniment by William O’Meara.