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Day of Wrath Reviews
For me this is Dreyer's best and most compelling work. Without doubt his most accessible but without compromising on his interest in religious themes. A precursor to The Crucible in many ways and this particular witching is darker and more intensely intimate. I found it powerful and well worth a view. Had to buy this one on DVD as again streaming in the UK and catching on 온라인카지노추천 was a non starter. A great addition to my foreign language diary but cost a whack to buy a copy through the BFI.
In 1623 Denmark, a young woman lives with her aging husband, a local pastor, and her hateful mother-in-law. When her husband's son from a previous marriage arrives on the scene, the dynamics within the family unit change radically as the son and the young woman fall in love. And one can't forget the witch hunts being conducted, a brutal practice that hangs a dark cloud over the entire affair as the church uses its power to control the populace through fear and intimidation. Carl Dreyer's Day of Wrath is a remarkably bleak film in both theme and style. Shot in stark black and white, Dreyer fills the screen with beautifully orchestrated long takes, filled with effective tracking shots and creative pans. One of Dreyer's best efforts, it is a visual wonder and a sobering reminder of the dangers of the abuse of power.
Random Woman: "I would like to be independent and self-determining. I find no joy in being a cold husk withering away in self-deprived and unwanted piety, devoid of all emotions." The Church: "Get the choir together, we've got a witch to burn." Slowly paced, oppressively atmospheric, and surprisingly brutal, Day of Wrath is an exploration of fear, desire, and persecution conducted in the name of virtuousness, all told in the visual style of Rembrandt. Characters cloaked carefully in dark shadow or illuminated by hainting candlelight, reeling as they contend with their own inner conflicts inspired by an authoritarian society. While claimed by Dreyer himself not to have been made explicitly in reference to Nazis despite the wartime circumstances of the film's production, Day of Wrath presents strong parallels that the National Socialist German Workers' Party certainly embodied as the then-most-recent successor to a substantial historical lineage enforcing a particular sense of morality and authority that is hypocritical and inconsistent in its justifications, really only serving as a means of gaining control over others. In the plot of this particular film, that role is served through the Church and its clergy, particularly as it relates to the suppression of independence and divergent thought among women. And yet, it's not as if the characters enforcing the 'rule of law' are wholly evil, and that is Dreyer's masterstroke - Thorkild Roose's Absalon gradually becomes self-reflecting and remorseful, but the distinctions between his role as a member of the clergy and his silently suffering wife Anne (Lisbeth Movin) are too great to rectify even when recognized, thus driving the two ideological sides of the film even further apart in a tragic and ironic twist. Still wholly relevant as a treatise on the psychology of totalitarianism and religious fervor. The slow pace might be (and has been) a limiting factor in its popular reception, but remains key for developing the simmering atmosphere of mistrust and hate boiling beneath the surface of a domestic existence. Dreyer bucks the trend by taking (not necessarily by choice) a decade absence between films and creating a classic regardless. (4/5)
Intense drama exposing how morals can be easily corrupted in religious Denmark.
Day of Wrath is an elegant film the family, officials, and saints who misuse power in the face of sin and disorder.
This masterpiece from Carl Theodor Dreyer was film in 1943 during the Nazi occupation of Denmark. The film is set in the 17th century and deals with a witch hunt but is about so much more. Dryer exhibits and anger here, against the hypocrisy of Christianity and the treatment of women of the the time. The film is beautifully lit as usual and overall, this is a stunning work of art. I should also highlight the acting, which I thought was excellent. This is a very rewarding experience for serious film fans!
Even if you aren't a religious person, this film will get to you. There is a brutal honesty in the story that unfolds and the bleakness is tough to sit through but you will be glad you did by the time the film is over. An empowering film.
Compared to the two other films that were in this box set, Ordet and Gertrud, Day of Wrath contained some of the most emotive acting from a Dreyer film which is an interesting twist. I did enjoy this but it is not his strongest outing especially compared to his more popular films. The overall average for this box set came out to 7.3 which make it very highly rated for me. These are all inclusive, very important films in execution as well as content.
Carl Theodor Dreyer could be less rebellious than Ingmar Bergman, but his criticism against Christianity couldn't be more shocking to his audience with those light contrasts and symbols. What's more, he can turn the prevailing humanity into something you wish it wasn't there. Such dramatic impact concerning religion dogmas can only be achieved by Lars von Trier more than 50 years later.
Such an intense movie on religious and social levels. Each actor portrayed their characters well and Dreyer's directing is absolutely wonderful.
How does an ordinary woman accept martyrdom? The answer is found in this astounding and unforgettable spiritual masterpiece by the genius Carl Theodore Dreyer, which he made in 1943 during the Nazi occupation of his country Denmark.
Day of Wrath is an amazing Carl Th. Dreyer drama, and is my favorite film set in the medieval ages. The film is centered around two scandals, a cover up and a love affair. Both weigh equal value to the film just at different times. I think the greatest part of this film, despite being from the 1940s and set in the 1600s, is that I strongly relate to the family in it. Not a character, or even the situation, but I felt like I had something to share with all four of the family members. I felt all of there emotions, even the seemingly heartless ones. It's brilliantly filmed, and is technically flawless. Filled with depth and marvelous technique, this is undeniably a classic.
Well done though a bit slow. Elaborate stage. Thought the acting was decent. Drunken sheriff sees murdered bodies of nobles disappear. In his search for the truth he uncovers a dark secret.
A fear of dying, a fear of living. A fear of nothing, a fear of everything, and everything in between is expressed so fluently in this film, primarily because there is a pleasant uncertainty constantly flowing along with the film. It's almost bizarre how much Dreyer (one of my top 5 favorite directors) knows so much about life, spirituality, and passion, yet know so incredibly much on how to make a film. I'm an atheist, by the way.
Dreyer's canon contains some real heavy hitters. This is no exception. Prepare to get punched in the face.
An absolute masterpiece. It's amazing to me how Dreyer was able to get such lasting, powerful performances from all of his actors, especially Anna Svierkier, who appears briefly as the woman accused and ultimately executed for being a witch. The use of shadow was perfect as was Dreyer's framing. The dialogue, though simple, was breathtakingly real, and thus heartbreaking in its honesty. I loved everything about this movie.
Intentional or not, Anne hides the old woman accused of witchcraft in the attic from the clerical stormtroopers on screen at the same time the Christian Danes were secretly shipping the Jews overseas.
Another brilliant Carl Dreyer film.
Love the contrasts, stark sets and lighting matches so appropriately the stark subject matter. Reminiscent of Winter's Light and the Trial of Joan of Arc. The former for tone and the latter for its commentary on the evils of the hive mind, specifically as it relates to institutionalized religion.