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Found 6 results

  1. Jazzaloha

    Ordet (1955)

    I just saw this film recently, and I really enjoyed it. I have some questions and comments about the film that I wanted to raise here. (SPOILERS) I wasn't quite clear about the differences in theology between Morten Borgen and the tailor, Peter. I know the two characters talked about the way Peter's beliefs were more stern and focused on the heaven, while Borgen's was supposed to be more optimistic and centered on a fulfilling life on earth. Was that the main difference? The theology didn't seem to manifest itself in the characters other than in the rhetoric of that specific scene. Would it have been blasphemous for Borgen and his family to turn to Johannes and acknowledge that he could heal Inger and save the baby? The film seems to indicate that Borgen and the Mikkel failed in their faith by not doing so. I felt anxious for Borgen in that scene where Inger is struggling for her life because it was a moment when he had to humble himself and step out in faith by recognizing Johannes. That's was my reaction anyway. It's a strange reaction because turning to Johannes would seem to admit that he was Jesus, which is crazy and blasphemous, but I feel that was what Borgen and Mikkel was supposed to do. One last comment. My favorite part in the movie is when Johannes returns to the viewing of Inger, and he asks if anyone has considered asking God to bring Inger back to life. His father says that he blasphemes God by asking such a question, and I loved Johannes' response: "You blaspheme God by your lukewarmedness."
  2. Hi as usual this is late notice, but I'm getting my first viewing of this tonight (and at a cineama to boot) and I wannted to get the most out of it so without resorting to spoilers [PLEASE NO SPOILERS] could those of you that appreciate the film drop me a few "watch for the juxtaposition of crucfixes" type guidelines so I can get the most out of it. (I've looked at the pictures in Baugh but not read the commentary & I'm familiar with Ordet as I've seen it twice now - the last time was last week), but just a few things so I can notice them at the time, rather than read about them afterwards and think - Oh I missed that. The films not available over here as far as I know so this is a rare opportunity. Just to complicate it I'm leaving work at 4pm GMT (no idea what time that is where you are as it varies across the states), but if you coud pass me some commetns by then that would be good. Thanks Matt
  3. #13 on A&F Top 25 List of Spiritually Significant Films about Growing Old(er) Well, we see how long this resolution lasts, but I was hoping to write about some of the Top 25 over at 1More Film Blog. Here are my thoughts on Gertrud, which I was reminded did not have a dedicated A&F thread yet.
  4. I searched and searched and as usual could not find a dedicated thread to this one. Some reference to it here, regarding different DVD versions. I just finished the Image Ent. 1991/1998 version, 1h12min packaged with Starewicz's Fetiche (which I gave up on after fifteen minutes). With that out of the way, on to Vampyr. I have to say, in interest of full disclosure, we had a terrible time trying to watch this one. In the end, we spread it out over three nights, with a week or so in between viewings. Definitely not ideal at all. This affected my experience with the film more than the bad sound, the crappy image quality (not the over-exposure, although I didn't find that as effective as Dreyer must have, just the restoration), and the horrible, horrible font choice for the subtitles. follow. . . . . A brief plot summary: This guy named Allen Gray's out in the German? countryside. He encounters an old man sneaking into his inn's room and leaving a book. He follows the man to his house, where he lives with his two daughters and servants. We learn one of the daughters is sick. During the evening when Allen journeys to the old man's house, he sees him murdered. Rushing to aid the family, he learns worse evils are taking place there. Opening the man's book, he learns that all the events of that terrible night seem to be the work of an undead vampire and his nefarious servants. We follow Allen and a trusty servant as they attempt to undue the vampire's curse that has taken hold of the old man's oldest daughter. Will they succeed? (umm, well, Hollywood certainly doesn't have a monopoly on happy endings) I had a hard time connecting with this one, something I didn't have at all with Dreyer's Joan of Arc film. Whereas in Joan, I connected immediately with that actress, the Allen Gray character in Vampyr seemed so distant and vapid. I felt like I was the one in the fog, not Allen. Maybe it was the over-exposed film, or the confused stare coming from the actor. Maybe it was because he ran like a girl or because he didn't freak out when his room at the inn is broken into by the book-bearing old man. I don't know. He just didn't register with me, and as the main hero, he made it easier for me to turn off after twenty minutes and pick it up later. None of the other characters, except for the evil doctor, made much of an impression either. But that doctor! Far scarier than the vampire, his creepy Einstein looking coiffure and his glints of impatient temper registered with me. What kind of man would sell out his own fellow humans for a demon's company? Nastiness bubbled under his surface. His delight at being around death and its trappings (the skeleton, the vampire, the blood, hanging out with the coffin in his house, poison) with no obvious gain created a chill in my spine. As an aside, I wonder if in Witness Peter Weir was giving a nod to Dreyer when he killed off his main villian's henchman in the same fashion in which the doctor is offed here? The plot seemed really jumpy, without a lot of coherent connections between the characters. Why did the old man chose Grey? How did the servant know where to find the vampire's grave? What was up with Grey's dream sequence--even though I found it eerily effective, I didn't understand its relevance to the story? Contributing to the jumpiness of the narrative was that all the information about the vampire and his assistants came in large chunks of Grey and the servant reading the old man's book. Show, don't tell, right? Well, here it was read, don't show. Certain scenes I felt were excellent--and I can see why they're famous today: Grey's dream where he sees himself buried--that candle on the coffin window and then the vampire's face appearing unexpectedly; the ghostly shadows moving in the trees; the crazed look of the older sister as she fears she's damned. But as a whole, I can't say I truly liked this one. I definitely appreciate it (Dreyer still was able to draw me in at times, despite the crummy packaging from Image), but I felt the sum was less than the parts.
  5. Turner Classic Movies Spotlight � Carl Theodor Dreyer Sunday, September 5 10:00 PM Carl Th. Dreyer: My Metier (1995) 12:00 AM The Passion of Joan of Arc (1928) (also Silent Sunday Night) 2:00 AM Vampyr (1931) 3:30 AM Carl Th. Dreyer: My Metier (1995) Sunday, September 12 10:00 PM Day of Wrath (1943) 12:00 AM The Parson�s Widow (�20) (also Silent Sunday Night) 1:30 AM Michael (�24) Sunday, September 19 10:00 PM Ordet (1955) 12:15 AM Leaves from Satan�s Book (1919) Sunday, September 26 10:00 PM Gertrud (1965) 12:00 AM Master of the House (1925) 2:15 AM Carl Th. Dreyer: My Metier (1995) * * * * In addition, Image Entertainment will be releasing Leaves from Satan's Book, They Caught the Ferry, and the wonderful The Parson's Widow on DVD in September.
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