The title of the book, My Only Great Passion: The Life and Films of Carl Theodor Dreyer refers to a quote from a 1950 Dreyer interview: On October 23, 1950, Carl Dreyer was interviewed for the radio program New Perspectives on the Arts and the Sciences. He discussed Joan of Arc and Day of Wrath […]
Tag: Carl Theodor Dreyer
Speaking the Language of Desire: The Films of Carl Dreyer by Ray Carney
Speaking the Language of Desire: The Films of Carl Dreyer by Raymond Carney provides an intelligent, thoughtful, and accessible analysis of Carl Theodor Dreyer’s body of work. In order to illustrate the recurring themes and distinctive visual aesthetic that pervade Dreyer’s films, Carney examines The Passion of Joan of Arc, Day of Wrath, Ordet, and […]
Gertrud, 1964
Gertrud is an emotionally restrained, yet profoundly compelling portrait of a life without compromise. Gertrud (Nina Pens Rode) is a captivating, privileged woman married to a diligent professional, Gustav Kanning (Bendt Rothe). She is disillusioned with her marriage, believing that Gustav’s political ambitions impede his complete devotion to her. On the afternoon of Gustav’s impending […]
Ordet, 1955
A disconnected, soft spoken man wanders into the vast open field of the Danish countryside, as he often does, preaching to the wind, believing that he is Jesus Christ. His name is Johannes Borgen (Preben Lerdorff Rye), a theology student who suffered a mental breakdown pondering the fundamental questions of faith and religion. His younger […]
Day of Wrath, 1943
It is 1623, Denmark, a hundred years after the Protestant reformation, and religious tide has swung from the sale of indulgences to theological fanaticism. Witchcraft trials occur with certain frequency, and any aberrant behavior is cause for denunciation. Herlof’s Marthe (Anna Svierkier), a morally weak woman who experiments with the occult, has been denounced as […]
Vampyr, 1932
Filmed during the transition from silent to sound, Vampyr also represents a creative transition for Carl Theodor Dreyer. Having ended his association with Société Général de Films, the production company that had brought him to Paris and financed The Passion of Joan of Arc (he subsequently broke his contract and filed a lawsuit against them […]