Five film: four screen plays

by Carl Theodor Dreyer

Book by Dreyer, Carl Theodore

Paperback

First published January 1, 1964

About the author

Carl Theodor Dreyer, Jr. (3 February 1889 – 20 March 1968) was a Danish film director. He is regarded by many critics and filmmakers as one of the greatest directors in cinema.

Life

Dreyer was born illegitimate in Copenhagen, Denmark. His birth mother was an unmarried Scanian maid named Josefine Bernhardine Nilsson, and he was put up for adoption by his birth father, Jens Christian Torp, a farmer who was his mother's employer. He spent the first two years of his life in orphanages until his adoption by a typographer named Carl Theodor Dreyer, Sr., and his wife, Inger Marie (née Olsen). His adoptive parents were emotionally distant and his childhood was largely unhappy. But he was a highly intelligent school student, who left home and formal education at the age of sixteen. He dissociated himself from his adoptive family, but their teachings were to influence the themes of many of his films.

Dreyer was ideologically conservative. According to David Bordwell: "As a youth he belonged to Radical Socialist party, a conservative group radical only in their opposition to military expenditures..."Even when I was with Ekstrabladet," Dreyer recalled, "I was conservative."..."I don't believe in revolutions. They have, as a rule, the tedious quality of pulling development back. I believe more in evolution, in the small advances."

Dreyer died of pneumonia in Copenhagen at age 79. The documentary Carl Th. Dreyer: My Metier contains reminiscences from those who knew him.

Career

As a young man, Dreyer worked as a journalist, but he eventually joined the film industry as a writer of title cards for silent films and subsequently of screenplays. His first attempts at film direction had limited success, and he left Denmark to work in the French film industry. While living in France he mixed with Jean Cocteau, Jean Hugo and other members of the French artistic scene and in 1928 he made his first classic film, The Passion of Joan of Arc. Working from the transcripts of Joan's trial, he created a masterpiece of emotion that drew equally from realism and expressionism. Dreyer used private finance from Baron Nicolas de Gunzburg to make his next film as the Danish film industry was in financial ruin. Vampyr (1932) is a surreal meditation on fear. Logic gave way to mood and atmosphere in this story of a man protecting two sisters from a vampire. The movie contains many indelible images, such as the hero, played by de Gunzburg (under the screen name Julian West), dreaming of his own burial and the animal blood lust on the face of one of the sisters as she suffers under the vampire's spell. The film was shot mostly silent but with sparse, cryptic dialogue in three separate versions - English, French and German.

Both films were box office failures, and Dreyer did not make another movie until 1943. Denmark was by now under Nazi occupation, and his Day of Wrath had as its theme the paranoia surrounding witch hunts in the sixteenth century in a strongly theocratic culture. With this work, Dreyer established the style that would mark his sound films: careful compositions, stark monochrome cinematography, and very long takes. In the more than a decade before his next full-length feature film, Dreyer made two documentaries. In 1955, he made Ordet (The Word) based on the play of the same name by Kaj Munk. The film combines a love story with a conflict of faith. Dreyer's last film was 1964's Gertrud. Although seen by some as a lesser film than its predecessors, it is a fitting close to Dreyer's career, as it deals with a woman who, through the tribulations of her life, never expresses regret for her choices.

The great, never finished project of Dreyer’s career was a film about Jesus. Though a manuscript was written (published 1968) the unstable economic conditions and Dreyer’s own demands of realism together with his switching engagement let it remain a dream.

Reviews

[Bahman Bahman · Rating 3 out of 5]

من سالها قبل (بیش از یک دهه) کتاب مقدس رو خونده بودم و همیشه فکر می کردم از کجای انجیل که روایت می کنه مسیح زنی تن فروش رو از سنگسار( بر اساس شریعت موسی) نجات داد و فقط بهش گفت برو و گناه نکن ، یا وقتی ازش در مورد حلال و حرام خوراکی ها سوال کردند ، جواب داد چیزی که از دهان بر می آید ، می آلاید ، نه آن که از دهان فرو می رود!این همه آدم سوزی و شکنجه های انکیزیسیون در قرون وسطا درآمده ! تا این که این فیلمنامه رو خوندم و متوجه شدم حماقت و تعصب انسانها حتی از جمله معمولی مثل این که "شاخه خشکیده و بی بار را باید از درخت جدا کرد و سوزاند" به این نتیجه می رسه که پس باید انسانهای گناهکار (یا بهتر بگم کسانی که گناهکار به نظر می رسند!) رو زنده زنده آتش زد! خدا به داد همه ما برسه

[Parisa Sharif · Rating 5 out of 5]

اولین فیلمی که از درایر دیدم اردت بود و بعد از دیدنش با این کتاب آشنا شدم و افسوس خوردم که ای کاش اول فیلم‌نامه‌اش را خوانده بودم. اولین تجربه‌م از خواندن فیلم‌نامه روز خشم بود و تجربه‌ی عجیب و جالبی بود، درک متفاوتی از کارگردان و فیلم رو تجربه کردم و منتظرم که فیلم رو هم ببینم که جواب سوال‌های تو سرم داده بشه.

[Tom Newth · Rating 4 out of 5]

really good stuff - a lot of non-normal emotional stuff alongside the action and dialogue, yet still a fascinating glimpse of the gulf between page and screen