Carl Theodor Dreyer

Jørgen Roos – Carl Th. Dreyer (1966)

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At the world premiere of “Gertrud” in Paris, December 1964, Dreyer is greeted by many celebrities of the French cinema: Clouzot, Langlois, Truffaut, Godard, Anna Karina. Afterwards Dreyer delivers short comments on the style of each of his films. Already in his first film, from 1920, he strove for simplicity, especially in the set design. He started from the idea that each apartment gives an impression of the owner’s personality. By removing all superfluous details of the furnishing, the remaining, simplified scenery gives a heightened sense of authenticity. An authentic setting creates, according to Dreyer, a genuine style. To find this authenticity he often studies paintings from the period in which the story takes place. In his later films he brings this simplification process even further. He removes everything from the film that is not related to the story. He also simplifies the dialogue to find a more concise form, whereby he comes closer to the style of tragedy. (imdb) Read More »

Carl Theodor Dreyer – Mikaël (1924)


Another German Contribution
German producers delight in taking an occasional fling at France, England and Russia by filming stories dealing with historical characters who were not exactly a credit to their respective countries, even though they did furnish colorful inspiration for plays and novels. The latest stab in this connection is contained in a production now known as “Chained,” the incidents in which are said to be based on the life of Auguste Rodin, the French sculptor. Read More »