I have seen the big five Dreyer films: The Passion of Joan of Arc, Vampyr, Day of Wrath, Ordet, and Gertrud. I really like Dreyer and am curious where to go from here. Does he have any other films worth watching? If so which ones?
If you’ve seen five films by a director and you’ve really liked them all, do you really need to ask if others are worth watching?
In most cases no but I never hear anything about any other films by him. So I’m wondering what of his lesser known work is good.
I was wondering the same thing as Drew. Is Leaves from Satans book any good, or The Parsons Widow? Or Michael?
I have also found myself wondering this, I did a really in depth critical/analytical essay about Dreyer, which focused on Passion of Joan of Arc, Vampyr, Day of Wrath and Ordet. I LOVE Dreyer and have found his work to be some of the most moving in the medium, yet the early stuff is rather hard to come by. I think that you can order it, but I’ve never just run across it or else I would have picked it up. If anyone on here has seen any of the earlier stuff fill us in on what of the early stuff is most worth the effort of ordering (I say most because I’m sure that it’s all pretty much worth hunting down…)
Leaves from Satan’s Book is a remarkable visual achievement. Some of the images look like Rembrandt paintings. It’s a triptych of stories about how Satan tempts man to evil in three different epochs of history. The interesting twist is that Satan actually wants man to resist temptation. Satan is humanized. It’s very religious but in a thoughtful way.
Stop these double threads.
i have micheal on dvd by Kino, and it’s not that entertaining, but if you can find it used for a few dollars, the commentary is worth it if you’re really into dreyer
The Parson’s Widow and Michael are definitely worthwhile. Also Master of the House.
Leaves from Satan’s Book is an astonishing visual feast, I second that.
I didn’t like Michael much, but Master of the House is an entertaining, witty, well made film, about the self-styled master of the house, who oppresses his wife, is put firmly in his place; wide appeal, not just feminists. Not the only film by Dreyer that concentrates on strong or oppressed women in a man’s world.