Within such a minimalist production style – extended single shots of dialogue occasionally linked by a simple camera track, sparse use of sets – hides so much emotional power. That the actors don’t even look directly into each other’s eyes just add to the sad tone of lost love for the main female character and her attempts to keep her head held high regardless. It is an utterly beautiful achievement.
Moments immortalized in stubborn pursuit of the impossible: dark gives way to bursts of memory drenched in diffuse light; the exchange of a cigarette stops time; an undressing lover glorified as towering shadow; the self (frozen in mirrors) joins the art on the walls; a swell of music (mentioned diagetically) seems utterly non-diagetic. "A fire about to be extinguished" already rekindling in our imagination. Cinema.
The best female portrait Dreyer made in his career, because he draws feelings not only out of the script and his characters but deep within his own self as well. His everlasting concern for female suffering has never played a greater role than the one in Gertrud.
morose, but the characteristic cadence and sensitivity of Dreyer's mise en scene can always captivate the heart.
Describing a film as ridiculously dull isn't what I would describe as an intelligent observation. I don't doubt your intelligence but it would be nice to give reasons why you find a film dull so that creative discussion can arise. Your comment is far more detrimental to creative discussion than anything Mike wrote.
This is Dreyer’s "most Dreyer like" film. Its beautiful and still observations of a woman’s lonley search for an unobtainable love proves again why Dreyer is seen as one of the greatest filmmakers of the 20th century.
I know this is cinematic heresy, but this movie IS boring. Watching it was akin to being impaled with nails. Still there were moments of Dreyer's genius on display here, but this is no The Passion of Joan of Arc or Day of Wrath.
"Wow really boring. I guess you would have to be extremely sick and bed-ridden to want to sit through this" Or intelligent.
Reflective cinema: discomforting in its elongation, bold in form, denying the easy pleasures of emotional involvement, provoking a disengagement, a disciplining that piques the intellect. (See Susan Sontag's inspiring essay 'Spiritual style in the films of Robert Bresson' for further appreciation of this concept.) This film reminds me of how much I have to learn about cinema and why I adore it.
Three years before the Beatles release "All You Need is Love," Dreyer tells us that, indeed, love is all you need. The film may be a bit excessively sentimental, but if anyone can get away with that, it's certainly Dreyer. It only made me believe even more strongly that his films are among the most beautiful things in life
2 hours of a bunch of peoples trying to finds out the real meaning of Love. Boring.
very dense philosophically and quiet intense emotionally, one of the best, if not the best, film about love, ever !
After a certain point w/r/t watching movies, I can’t really activate that happy analytical chunk of my brain which so often lights up at even the suggestion of work to be done. Gertrud is phenomenal and complete and beautifully flooring; writing or reading a review on it would distract from the sacred time one could spend watching and re watching it. “Go and see” - is really all I know.
Gertrud (1964) DIR Carl Th. Dreyer SCR Carl Th. Dreyer 119 Min A woman’s love and a man’s work are mortal enemies amor omnia
Sux that this was Dreyer's swan song. The play is dull, dated, and laughably earnest in its anti-sentimentalism. Lighting, as always, is amazing. But not enough to keep me from making to-do lists in my head while the wrought lovers chattered endlessly.