2.5 Filled with beautiful anger. Not only the woman's anger at the man, but also the man's anger at himself(Dreyer cursing his mirror). The film is a touch too sentimental. Dreyer should have let his strong feelings settle before shooting. Anger prevents the deep focus one needs to be subtle and "objective".
Típico de Dreyer, una fábula redentora, en esta ocasión la de un hombre autoritario y amargado, no por culpa del machismo, sino por frustración. La pérdida de un negocio como una consecuencia de la IGM; una situación muy coyuntural por entonces. Desde ese sentido, un filme realista. Pero es también otra historia, la del hombre atormentado por esa autoridad femenina: la nana. ¿Castración?
A boorish, selfish brute of a husband and father meets his comeuppance at the hands of his aged nanny is this rare comedy from master director Dreyer. Not without its visual flourishes but this rates pretty low in the canon overall. The final 20 minutes or so seem to take forever while by modern feminist sensibilities we'd still like to see the boor castrated; or at the very least left devastated and alone.
Dreyer's subtle mastery shines in simple and evocative compositions, despite quotidian household context. Viktor disapprovingly observes his wife as lacking in his selfish standards as she appears in circular iris: her head barely peaks the bottom of the frame, emphasizing a bare wall and small picture frame. This foretells a void: Viktor finds his wife is away and both his command and sexist tyranny is questioned.