Дания, 1955.
Режиссер: Карл Теодор Дрейер
Моя оценка: 10/10
The second to last Carl Th. Dreyer's long feature film The Word (1955) is
a story about the death and resurrection of Inger, who, being pregnant,
lives on the Borgen's family farm. The Borgens are in religious
conflict with the family of Peter Peterson. Suddenly Inger is attacked
by a dangerous illness that causes her death that of her unborn baby.
Johannes, a madman who believes himself to be a reincarnation of
Jesus, inspired by the faith of Inger's little daughter performs a
miracle of Inger's resurrection.
I disagree with a common statement about the miracle, which is usually considered to be the theme of the film, namely that it "solves the social and religious conflicts". (1) The conflict between two families dissolves before the miracle. The grief allows both families to realize the futility and narrowness of their artificially created convictions. The director works with two space dimensions to underline "the contrast between nature and civilization" (2): the inner house space (with windows that overlook a wall of bricks) represents the confines of church boundaries, while the outdoor space of dunes is the world of Jogannes's freedom of faith.
The genuineness of the film is enhanced by how the director uses long and slow shots with camera movements and how he arranges the movement of actors within the single shot without crosscutting, which is also what brings the film closer to reality, contributing to a frank dialogue between the audience and the director.
For me, the theme is the faith of love that reigns above religious differences and the miracle is a result of this love.
"In his films, Dreyer attempted to show that, despite the circumstances, love will find a way, miraculously, to illuminate life, even if only in glimpses. If this cannot take place, life dies out". (3)
I disagree with a common statement about the miracle, which is usually considered to be the theme of the film, namely that it "solves the social and religious conflicts". (1) The conflict between two families dissolves before the miracle. The grief allows both families to realize the futility and narrowness of their artificially created convictions. The director works with two space dimensions to underline "the contrast between nature and civilization" (2): the inner house space (with windows that overlook a wall of bricks) represents the confines of church boundaries, while the outdoor space of dunes is the world of Jogannes's freedom of faith.
The genuineness of the film is enhanced by how the director uses long and slow shots with camera movements and how he arranges the movement of actors within the single shot without crosscutting, which is also what brings the film closer to reality, contributing to a frank dialogue between the audience and the director.
For me, the theme is the faith of love that reigns above religious differences and the miracle is a result of this love.
"In his films, Dreyer attempted to show that, despite the circumstances, love will find a way, miraculously, to illuminate life, even if only in glimpses. If this cannot take place, life dies out". (3)
(1) Ib Bondebjerg, A Cinema of Passion. Carl Th. Dreyer – an International Auteur in Danish Cinema, p. 10.
(2) Ib Bondebjerg, A Cinema of Passion. Carl Th. Dreyer – an International Auteur in Danish Cinema, p. 11.
(3) Jes Nysten, Life is truly a miracle, http://english.carlthdreyer.dk/AboutDreyer/Themes/Life-is-truly-a-miracle.aspx
Written for Scandinavian Film and Television on Coursera.
(C) Ksenia Ragot
(2) Ib Bondebjerg, A Cinema of Passion. Carl Th. Dreyer – an International Auteur in Danish Cinema, p. 11.
(3) Jes Nysten, Life is truly a miracle, http://english.carlthdreyer.dk/AboutDreyer/Themes/Life-is-truly-a-miracle.aspx
Written for Scandinavian Film and Television on Coursera.
(C) Ksenia Ragot
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