Apart from blockbusters like Ben-Hur (1959, William Wyler), The Robe (1953, Henry Koster), King of Kings (1961, Nicholas Ray), The Greatest Story Ever Told (1965, George Stevens) and other religious-themed films that are exhibited each year on television during Semana Santa (and do not say pejoratively but rather the opposite), there are also the same genus with fewer claims and less well known outside the circles moviegoers. However, they are of lesser quality. An example is Ordet, one of the great films of Carl Theodor Dreyer .
Ordet is not a film about the life of Christ or on a passage or fragment of the Bible, is not a blockbuster, so it is far from the aforementioned. However, there are few examples of family dramas and as usual with a strong role of religion, as in the case of this work. Dreyer
uses a great sobriety, especially in the scenery, to tell a story that could carry the subtitle: "Faith can move mountains." The film revolves around the members of a farming family. The daily life of these humble people is shown by Dreyer's camera without artifice or special effects, only with a great mise en scène composed almost entirely by long shots that hit the whole film a theatrical aspect. The script is signed by Dreyer himself, which adapts the homonymous work of pastor Kaj Munk.
protagonist's family is composed of the patriarch, Morten Borgen, and their three sons, Mikkel, Johannes and Anders. The first expecting her third child with his wife, Inger, and not just to reach God because he lacks faith. For its part, Johannes is a former theology student who both read the thinker Søren Kierkegaard identifies with the figure of Christ and all of them taken by a madman. And third, Anders, is in love with the daughter of a tailor, who belongs to a religious rival clan and therefore opposed to the loving communion between Anders and her daughter.
Ordet is a film about a miracle, and how from the power of faith and Christian values \u200b\u200bcan face adversity and live a life of communion and tolerance with our neighbors and our rivals. The first half of the film contains a more hopeful tone. The misfortune is weighing gradually until it explodes in the middle of the tape. Even the lighting changes, giving the film a less dreamlike and more austere than the first half.
The credibility of the master Carl Theodor Dreyer and what he is telling us is amazing. By the time the miracle happens we are so identified with the family and get thrilled to see religion from a different perspective. The values \u200b\u200bderived from this work off a smell of sincerity and beauty that obtained the result that the world changes before our eyes, does the optimism in the valley of tears. In some ways makes the viewer becomes a believer, word agnostic. Is one of those movies that leave us with good taste, highly recommended for Easter (hence my recommendation to leave the television, naive of me) or to any point in our lives that we need a dose of spirituality ... or movies with capital letters, no more.
EDUARDO MUÑOZ
The credibility of the master Carl Theodor Dreyer and what he is telling us is amazing. By the time the miracle happens we are so identified with the family and get thrilled to see religion from a different perspective. The values \u200b\u200bderived from this work off a smell of sincerity and beauty that obtained the result that the world changes before our eyes, does the optimism in the valley of tears. In some ways makes the viewer becomes a believer, word agnostic. Is one of those movies that leave us with good taste, highly recommended for Easter (hence my recommendation to leave the television, naive of me) or to any point in our lives that we need a dose of spirituality ... or movies with capital letters, no more.
EDUARDO MUÑOZ
0 comments:
Post a Comment