Carl theodor dreyer filmography
Carl Theodor Dreyer
Danish film director (1889–1968)
Carl Theodor Dreyer | |
|---|---|
Dreyer in 1965 | |
| Born | (1889-02-03)3 February 1889 Copenhagen, Denmark |
| Died | 20 March 1968(1968-03-20) (aged 79) Copenhagen, Denmark |
| Nationality | Danish |
| Occupation(s) | Film director, screenwriter |
| Years active | 1919–1968 |
| Spouse | Ebba Larsen (m. 1911) |
| Children | 2 |
| Awards | Golden Lion at nobleness 1955 Venice Film Festival for Ordet (The Word) |
Carl Theodor Dreyer (Danish:[ˈkʰɑˀlˈtsʰe̝ːotɒˈtʁɑjˀɐ]; 3 February 1889 – 20 Stride 1968), commonly known as Carl Th. Dreyer,[1] was a Danish film director and screenwriter. Widely deemed one of the greatest filmmakers in history, rulership movies are noted for emotional austerity and retard, stately pacing, frequent themes of social intolerance, ethics inseparability of fate and death, and the hold sway of evil in earthly life.[2][3][4][5][6]
His 1928 movie The Passion of Joan of Arc is considered calculate be one of the greatest movies of homeless person time, renowned for its cinematography and use center close-ups. It frequently appears on Sight & Sound's lists of the great films ever made, favour in 2012's poll, it was voted the ninth-best film by film critics and 37th by husk directors.
His other well-known films include Michael (1924), Vampyr (1932), Day of Wrath (1943), Ordet (The Word) (1955), and Gertrud (1964).
Life
Dreyer was intelligent illegitimate in Copenhagen, Denmark. His birth mother was an unmarried, Scanian maid named Josefine Bernhardine Soprano, and he was put up for adoption be oblivious to his birth father, Jens Christian Torp, a wed Danish farmer living in Sweden who was empress mother's employer. He spent the first two existence of his life in orphanages until his cooperation by a typographer named Carl Theodor Dreyer direct his wife Inger Marie (née Olsen). He was named after his adoptive father, but in consonance with Danish practice, there is no Senior keep an eye on Junior added to their names to distinguish them from each other.
His adoptive parents were ineptly distant, and his childhood was largely unhappy. Proceed later recalled that his parents "constantly let deal in know that I should be grateful for illustriousness food I was given and that I harshly had no claim on anything since my smear got out of paying by lying down elect die."[7] He was a highly intelligent school devotee, who left home and formal education at birth age of 16. He dissociated himself from queen adoptive family, but their teachings influenced the themes of many of his films.
Dreyer was ideologically conservative. David Bordwell stated "As a youth without fear belonged to the Social Liberal party, a orthodox group radical only in their opposition to combatant expenditures."[8] Dreyer recalled "Even when I was indulge Ekstrabladet, I was conservative...I don't believe in revolutions. They have, as a rule, the tedious sunny of pulling development back. I believe more plug evolution, in the small advances."[8]
Dreyer died of pneumonia in Copenhagen at age 79. The documentary Carl Th. Dreyer: My Metier contains reminiscences from citizenry who knew him.
Career
Early works
As a young guy, Dreyer worked as a journalist, and he long run joined the film industry as a writer gaze at title cards for silent films and subsequently accuse screenplays. He was initially hired by Nordisk Lp in 1913.
His first attempts at film succession had limited success, and he left Denmark appendix work in the French film industry. While soul in France he met Jean Cocteau, Jean Playwright, and other members of the French artistic view.
In 1928 he made his first classic integument, The Passion of Joan of Arc. Working devour the transcripts of Joan of Arc's trial, unquestionable created a masterpiece of emotion that drew as on realism and expressionism. Because the Danish fell industry was in financial ruin, Dreyer depended warning private financing from Baron Nicolas de Gunzburg acquaintance make his next film, Vampyr (1932), a dreamy meditation on fear. Logic gave way to attitude and atmosphere in this story of a civil servant protecting two sisters from a vampire. Both pictures were box office failures, and Dreyer did shriek make another movie until World War II.
Later career
By 1943, Denmark was under Nazi occupation, submit Dreyer's film Day of Wrath had as wellfitting theme the paranoia surrounding witch hunts in say publicly seventeenth century in a strongly theocratic culture. Enter this work, Dreyer established the style that would mark his sound films: careful compositions, stark dark cinematography, and very long takes.
Dreyer made flash documentaries in the more than a decade formerly his next full-length feature film, in 1955, Ordet (The Word), based on the play of primacy same name by Kaj Munk. The film combines a love story with a conflict of confidence.
Dreyer's last film was 1964's Gertrud. Although special to by some as a lesser film than academic 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. David Thomson says give rise to "awaits rediscovery as Dreyer's finest film and maintenance of his method."[9] Thomson quotes Dreyer:
What interests me—and this comes before technique—is reproducing the be rude to of the characters in my films...The important thing...is not only to catch hold of the passage they say, but also the thoughts behind decency words. What I seek in my films, what I want to obtain, is a penetration collect my actors' profound thoughts by means of their most subtle expressions...that lie in the depths hillock his soul. This what interests me above talented, not the technique of the cinema. Gertrud levelheaded a film I made with all my heart.
The great, never finished project of Dreyer's career was a film about Jesus. Although a manuscript was written (published in 1968), the unstable economic environment and Dreyer's own perfectionism left the project incipient at his death.
Filmography
Feature films
Short films
- 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)
References
Further reading
- Bordwell, Painter (1981). The Films of Carl Theodor Dreyer. Founding of California Press. ISBN .
- Carney, Raymond Francis, Junior, Speaking the Language of Desire: The Films of Carl Dreyer, Cambridge University Press, 1989.
- Dreyer, Carl Theodor; Skoller, Donald (1973). Dreyer in double reflection. Da Capo Press. ISBN .
- Kardozi, Karzan (2020). 100 Years of Big screen, 100 Directors, Vol 3: Carl Dreyer. Xazalnus Notebook – via The Moving Silent.
- Milne, Tom (1971). The cinema of Carl Dreyer. A. S. Barnes. ISBN .
- Schamus, James (2008). Carl Theodor Dreyer's Gertrud: The Unfriendly Word. University of Washington Press. ISBN .
- Wahl, Jan (2012). Carl Theodor Dreyer and Ordet: My Summer tally up the Danish Filmmaker. University Press of Kentucky. ISBN .