63/100 (Güzel nostaljik bir havası var, aşka büyük övgülerde bulunur gibi dursa da aşkı anlamlı bulmuyor, tabiki görüntü yönetimi bir şaheser. Ancak geri kalan hiçbir şeyden memnun değilim 1964 yılı için bile çok demode, diyaloglar çok çiğ, oyunculuklar ise malesef Cannes'ta aldığı ödülün mantığını sorgulatacak kadar berbat.)
In many regards this is clearly a Dreyer film: the existential crisis of Gertrud for instance, and the theatrical, poetic acting in the film. However, it couldn't completely captivate me for some reason. In a way it felt like, for me, the relative modernity of the film conflicted with the theatrical style elements. I did really love the story and theme though, and Gertud's open-minded and interesting choices in life.
7/10 (25. 09. 2017). technically it`s a very primitive film for 1964 but it doesn`t mean bad. I don't like all accents of heroine about love, how she shared it, not realizing the greatness of that value. Full of misunderstandings by unfair giver. I have the feeling that she loved all, but nobody did not suit her. Monogamy... maybe I'm a little sexist, but it seems to me that this film must had made a woman.
Gertrud Kanning, autrefois célèbre cantatrice adulée sur toutes les scènes, est toujours une belle femme. Elle fréquente la haute société de Copenhague et mène une vie désespérément atavique. Mariée, rongée par un lourd ennui, elle investit sa passion dans une aventure avec un jeune compositeur. Pour lui, elle n' est cependant qu'une quelconque passade. Splendide ! www.cinefiches.com
the painting on the wall (a pack of dogs& naked woman) was summary of the film. I ve seen this mirror reflection effect and character related paintings inside satyajit ray's film 'music room'. Although it has a little suffocating atmosphere with its literary side ,it doesnt allow to give up watching until the end of film.