Carl Theodor Dreyer
Carl Theodor Dreyer
|Born||3 February 1889|
|Died||20 March 1968 (aged 79)|
|Awards||Golden Lion at the 1955 Venice Film Festival for|
Carl Theodor Dreyer (Danish: [ˈkʰɑˀl ˈtsʰe̝ːotɒ ˈtʁɑjˀɐ]; 3 February 1889 – 20 March 1968), commonly known as Carl Th. Dreyer, was a Danish film director. His movies are noted for their emotional austerity and slow, stately pacing. Frequent themes that his films explore are social intolerance, the inescapability of fate and death, and the power of evil in earthly life. Dreyer is regarded by many critics and filmmakers as one of the greatest directors in the history of cinema.
His 1928 movie The Passion of Joan of Arc is considered to be one of the greatest movies of all time, renowned for its cinematography and use of close-ups. It frequently appears on Sight & Sound's lists of the greatest films ever made, and in 2012's poll it was voted the 9th best film ever made by film critics and 37th by film directors. His other best known films include Michael (1924) Vampyr (1932), Day of Wrath (1943), Ordet (1955), and Gertrud (1964).
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 married Danish farmer living in Sweden 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, and his wife, Inger Marie (née Olsen). He was named after his adoptive father, but in accordance with Danish practice, there is no "Senior" or "Junior" added to their names to distinguish them from each other.
His adoptive parents were emotionally distant and his childhood was largely unhappy. He later recalled that his parents "constantly let me know that I should be grateful for the food I was given and that I strictly had no claim on anything, since my mother got out of paying by lying down to die." 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 the Social Liberal 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.'"
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. He was initially hired by Nordisk Film in 1913.
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 met Jean Cocteau, Jean Hugo, and other members of the French artistic scene. 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 on 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 seventeenth 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.
Dreyer made two documentaries in the more than a decade before his next full-length feature film, in 1955, 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 in 1968) the unstable economic conditions and Dreyer's own demands of realism together with his switching engagement let it remain a dream.
|Year||English title||Original title||Production country||Notes|
|1919||The President||Præsidenten||Denmark||Based on the novel by Karl Emil Franzos.|
|1920||The Parson's Widow||Prästänkan||Sweden||Based on the story "Prestekonen" by Kristofer Janson.|
|1921||Leaves from Satan's Book||Blade af Satans bog||Denmark||Loosely based on The Sorrows of Satan.|
|1922||Love One Another||Die Gezeichneten||Germany||Based on the novel by Aage Madelung.|
|1922||Once Upon a Time||Der var engang||Denmark||Based on the play by Holger Drachmann.|
|1924||Michael||Mikaël||Germany||Based on the novel Mikaël (1904) by Herman Bang.|
|1925||Master of the House (aka Thou Shalt Honor Thy Wife)||Du skal ære din hustru||Denmark||Based on the play by Svend Rindom.|
|1926||The Bride of Glomdal||Glomdalsbruden||Norway||Based on the novel by Jacob Breda Bull.|
|1928||The Passion of Joan of Arc||La Passion de Jeanne d'Arc (Jeanne d'Arc lidelse og død)||France||Co-written with Joseph Delteil, author of the novel Jeanne d'Arc (1925, Prix Femina). Named the most influential film of all time by the curators of the 2010 Toronto International Film Festival.|
|1932||Vampyr||Vampyr – Der Traum des Allan Grey||France/Germany||Based on the novella Carmilla (1872) by J. Sheridan Le Fanu.|
|1943||Day of Wrath||Vredens Dag||Denmark||Based on the play Anne Pedersdotter by Hans Wiers-Jenssen; hymns by Paul La Cour.|
|1945||Two People||Två människor||Sweden||Based on the play "Attentat" by W.O. Somin. Made in Nazi-related exile in Sweden, the film was disowned by Dreyer and withdrawn from distribution.|
|1955||The Word||Ordet||Denmark||Based on the play by Kaj Munk.|
|1964||Gertrud||Gertrud||Denmark||Based on the play by Hjalmar Söderberg.|
- Good Mothers (Mødrehjælpen, 12 min, 1942)
- Water from the Land (Vandet på landet, 1946)
- The Struggle Against Cancer (Kampen mod kræften, 15 min, 1947)
- The Danish Village Church (Landsbykirken, 14 min, 1947)
- They Caught the Ferry (De nåede færgen, 11 min, 1948)
- Thorvaldsen (10 min, 1949)
- The Storstrom Bridge (Storstrømsbroen, 7 min, 1950)
- The Castle Within the Castle (Et Slot i et slot, 1955)
- The Carl Th. Dreyer website Retrieved 12 March 2013
- "The 1,000 Greatest Films (Top 250 Directors)". They Shoot Pictures, Don't They. Archived from the original on 2 December 2016. Retrieved 1 December 2016.
- Bright Lights Film Journal review of Day of Wrath, Order and Gertrud
- "kamera.co.uk - feature item - Carl Dreyer - Antonio Pasolini". www.kamera.co.uk. Retrieved 22 February 2017.
- "Carl Theodor Dreyer | Biography, Movie Highlights and Photos | AllMovie". AllMovie. Retrieved 22 February 2017.
- The Passion of Joan of Arc review by Roger Ebert
- "Archived copy". Archived from the original on 4 February 2017. Retrieved 18 July 2011.CS1 maint: archived copy as title (link)
- Bordwell, David (1983). The Films of Carl Theodor Dreyer. University of California Press. p. 191.
- "Dreyer film voted most influential". Copenhagen Post. 22 September 2010. Archived from the original on 26 September 2010. Retrieved 26 September 2010.
- Bordwell, David (January 1981). The Films of Carl Theodor Dreyer. University of California Press. ISBN 978-0-520-04450-0.
- Carney, Raymond Francis, Junior, “Speaking the Language of Desire: The Films of Carl Dreyer,” (Cambridge, New York and New Rochelle, New York, Oakleigh and Melbourne, Victoria, and Sydney, New South Wales: Cambridge University Press, 1989).
- Dreyer, Carl Theodor; Skoller, Donald (1973). Dreyer in double reflection. Da Capo Press. ISBN 978-0-306-80458-8.
- Milne, Tom (1971). The cinema of Carl Dreyer. A. S. Barnes. ISBN 9780498077111.
- Schamus, James (1 January 2008). Carl Theodor Dreyer's Gertrud: The Moving Word. University of Washington Press. ISBN 978-0-295-98854-2.
- Wahl, Jan (2012). Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker. University Press of Kentucky. ISBN 978-0-8131-3618-9.
|Wikimedia Commons has media related to Carl Theodor Dreyer.|