Ordet (1955)
Directed by Carl Theodor Dreyer
The three sons of devout Danish farmer Morten have widely disparate religious beliefs. Youngest son Anders shares his father's religion, but eldest son Mikkel has lost his faith, while middle child Johannes has become delusional and proclaims that he is Jesus Christ himself. When Mikkel's wife, Inger goes into a difficult childbirth, everyone's beliefs are put to the test.
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What critics compared Ordet to
Take away Emily Watson’s heart-wrenching turn in Breaking the Waves and you have a TV-movie remake of Dreyer’s Ordet.
What follows is a thematic mash-up of the European folk tales of the Brothers Grimm and Charles Perrault (the figures of Hansel and Gretel, Red Riding Hood and Sleeping Beauty loom large), the paranoid finger-pointing of Arthur Miller’s play The Crucible , the religious devotion of Dreyer’s Ordet and the historical detail of Aldous Huxley’s book The Devils of Loudun .
El terror puritano adopta una antidecimonónica estructura de relato nuevo (según Robbe-Grillet): discontinua, subjetiva, ambigua y móvil, donde las crispadas voces obsedidas por la culpa y los malos pensamientos se espetan a cámara buscando su autonomía y demostrar la terrible vicariancia de la palabra sagrada (la que en Ordet de Dreyer 55 resucitaba a una difunta); donde la trágica desaparición del bebito se efectúa a base de lúdicos planos objetivos/subjetivos escamoteadores; donde la atmosférica música postserial de Mark Korven, nunca de acompañamiento o mero fondo, vehicula al terror en sí, consustancial; donde cobra enorme importancia el dominio de las tinieblas, como algo más que una ausencia o un motivo contrastante, sino como sustancia significativa y crucial que determina decisiones e impregna los miedos en la elaboradísimas imágenes del fotógrafo Jarin Blaschke, de continuo iluminadas a base exclusiva de famélicas velas omnipresentes o confinando a rincones fractales, cual ejercic…
Despite this paradox, in the history of cinema, there have been many great films about Christian faith — though not nearly enough: Carl Theodor Dreyer’s “Ordet,” Robert Bresson’s “The Diary of a Country Priest,” Jean-Pierre Melville’s “Léon Morin, Priest.”
…this entry oscillates between theology-heavy dialogue scenes reminiscent of Ordet and gnarly gross-out slayings…