Responsibility: screenplay by Carl Theodor Dreyer and Edgar Hoyer ; directed by Carl Theodor Dreyer. When a player had learned to understand the big close-up completely, both what dangers it holds and what possibilities for expression, then he or she would be able to give of their best. Few directors resisted compromise and convention the way Dreyer did; fortunately, the Nordisk Film Company was artistically progressive by Hollywood standards and agreed that this should be a prestige film made to the highest standards. He wants to marry Genevieve, but she says that they can never be more than friends. The film we are to see tonight is, of course, not as mature and powerful a work as his later masterpieces, but is of decided interest as an example of his earlier work, in which can be seen the beginnings of his individual style and his characteristic use of lighting and decor. It was done so beautifully that one instantly loved her for it.
A refusal for concession that parallels his movies. Simon Omnes Search for: This non-commercial Culture Blog, entirely conceived for educational and Fair Use purposes, is written, edited, and updated by Simon Omnes. That is what he set out to do with his adaptation of the novel Sorrows of Satan by Marie Corelli. Once the official script was completed, Dreyer continued to revise the text for an additional three months, much to Hoyer's chagrin the Finnish sequence is entirely Dreyer's creation. Norwegian press ad, 1921 It's often mistakenly assumed that Marie Corelli's 1895 novel The Sorrows of Satan was the basis for Dreyer's film.
A Satan who wishes for his redemption, who even tries to have the scales turned toward good in one story. The final segment is set in the Finland during the Russo-Finnish war of 1918. Among these different periods are the final days of Jesus Christ, the Spanish Inquisition, the French Revolution where Marie Antoinette Tenna Kraft is to be beheaded, and the Finnish Civil War between the Communist Reds and the non-socialist Whites. There was a bit of a problem with blooming in white areas, and details were quickly lost in shadow. Elith Pio as Joseph and Clara Pontoppidan as Siri give focal, heroic performances in the latter two stories. I have left nothing to others, I have taken care of everything myself. In comparison with his first film, this shows astonishing progress and is the only Danish film in which this type of allegorical theme has been treated with any success.
The Spanish Inquisition : Seville, 16th century - a young priest, Don Fernandez, is in love with Isabella, the daughter of his patron Don Gomez de Castro. This film is well worth checking out. Or his future intent to do a film on Jesus Christ. The film is essentially the story of Satan trying to do evil deeds by manipulating those to see if they can give in to temptation. Dreyer had wanted an artistic version of Christ, but the studio insisted that he film this sequence with a convention representation. Films such as The Passion of Joan of Arc are filled with stunning images and deep emotions.
The one aspect of the movie that sets it apart from other films of the time is the unusual take it had on Satan. Before they let him direct the other three episodes they made him complete the cutting of the Finnish part and show it to the directors. Since then, however, he has not used the close-up to so great a degree, and he has forsaken fast cutting for a very deliberate pace. The reputation of his stark portrait of medieval witch-hunting, Day of Wrath, was slow to build but is now secure. Griffith's Intolerance, which shares the four-episode structure of Satan's Book and its general theme of man's inhumanity to man, Dreyer's similarly expansive vision took in two millennia and two and a half hours of screen time. Dreyer is the first Danish director for whom the method is the natural one.
He moved to Norway and began working for a major Swedish company: Svensk Filmindustri. Coincidentally, it was Griffith who went on to film Corelli's novel for Paramount in 1926. Human faces and carefully-chosen architectural features alike are used to draw the viewer in to scenes which are often as delicately lit as a Vermeer painting. Decor: Dreyer, with technical assistance of Axel Bruun and Jens G. Her family are captured by a gang of Red Army soldiers led by Satan posing as 'Ivan', a former monk now collaborating with the Bolshevik invaders.
Later, disguised as a beggar, Satan forces Joseph to betray his former employers in order to save his own life and ultimately puts the fate of Marie Antoinette herself in Joseph's hands. Even his earliest films were wonderful to look at, and in these you can see Dreyer's style evolve. Blade af Satans bog is a captivating film from Carl Theodor Dreyer. Satan, as head of the Inquisition, assigns Don Fernandez the job of arresting and torturing a confession out of the woman he loves. Judas first sequence as Jacob Texière. Even at this early stage in his career, Dreyer's gift for expressive closeups and formally composed images was evident.
Starring Helge Nissen as Satan. The content of the film is implicit in the title: we are witness to the power of Evil through the ages, linked together by images of turning pages. Whetehr they are fans of Dreyer, silent films, or Danish cinema. This outraged the director, and probably added to his decision to leave Hordisk after this film. Lind do amazing work with the set pieces such as the look of the Last Supper, the torture room of the Inquisition, the prisons at the French Revolution, and the home of the couple in the Finnish Civil War scene. Which is too bad as I wish we could have had details on the project and reflections on how Dreyer made his film.