Country: Denmark.
Year: 1955.
Duration: 131 min.
Gender: Drama.
Interpretación: Henrik Malberg (Morten Borgen), Emil Hass Christensen (Mikkel), Birgitte Federspiel (Inger), Preben Lerdoff (John), Cay Kristiansen (Donald), Ejnar Federspiel (Peter Petersen), Gerda Nielsen (Anne Petersen), Ove Rud (Pastor), Henry rocks (Doctor), Edith Crane, Sylvia Eckhausen (Kirstin), Kirsten Andreasen, Ann Elisabeth Rud (Maren), Susanne Rud (Lille Inger).
Guion: Carl Theodor Dreyer; basado en la obra theatrical the Kaj Munk.
Producción: Carl Theodor Dreyer, Erik Nielsen y Tage Nielsen. Música: Poul Schierbeck.
Fotografía: Henning Bendtsen.
Assembly: Edith Schlüssel.
SYNOPSIS
A small community in western Jutland, 1930. The old Morten Borgen (Henrik Malberg) directs Borgensgaard farm. He has three children: Mikkel (Emil Hass Christensen), Johannes (Preben Lerdoff) and Anders (Cay Kristiansen). The first is married to Inger (Birgitte Federspiel) and has two young daughters, but now is Inger pregnant and expect the third. Johannes is a former theology student, having been imbued in their studies (especially Kierkegaard), and consistently identified with the figure of Jesus Christ, is regarded by all as a madman. The third, Anders, is in love with the daughter of a tailor, uncompromising leader of a rival religious sector. This circumstance revitalizes the discord that has always existed between the two families, since no looks very happy for their children marry. Inger triggers delivery of all the tensions built up in this small community.
Dreyer, the great mystic of film history
Dreyer, described by many as "one of the greatest mystics in the history of cinema" , gives his works an "aura." Watching your film, Ordet especially difficult to imagine a shoot: with typical meal breaks, the distribution of snacks among the extras, breaks between takes, the "click-clack" of the count, the team got worse mundane ... Indeed, Dreyer's films seem to not have been done by anyone, but has fallen from the sky directly, we feel like voyeur looking the lives of others, feeling reflected, for it is so interesting. Dreyer's film incorporates the resources of cinema and theater, to create a psychological realism beyond realism and naturalism. The characters and situations transcend reality to take us to a realm where anything is possible. For that uses a staging in which sees each frame as a picture. Replaces interior decorated by real, devoid of any ornamental element, extending each sequence to create unique atmospheres.
Dreyer presents this movie as a stream of spirituality, surrounding a mystical atmosphere that is interested in trying, above all, the insecurity of the individual to the vagaries of faith and reason.
