"Day of Wrath" (1943) -> Killer Great Film!
steve
This is one incredible film right from the opening credits, which literally
scroll forth accompanied by medieval brass menacingly blaring in a low
register. This dark and powerful sound is portentious, as the film delves
into the dark side of human nature. The release date and subject matter
suggest that the film is a political allegory aimed at the nazis, but its
message is more broad and timeless.
A woman (Herlofs Marte, played to perfection by Anna Svierkier) is accused
of witchcraft. She seeks the assistence of Reverand Abselon Pendersson, one
who sits in judgement, because Marte holds damaging information about
Abselon and his young wife, Anne. In exchange for Anne's hand, Abselon once
saved Anne's mother from a similar fate when she too was denounced as a
witch. Marte is a demure and tragic figure...truly pitiful...until she is
rebuffed by Abselon. Suddenly, she hisses like a coiled viper as she
threatens to denounce Abselon and his family.
Marte is no innocent. It is apparent that she has used the prevailing
belief in witchcraft to her advantage. In the opening scene, she delivers a
potion to a customer, proclaiming that "There is power in evil". She is
also willling to take others down with her if she is not saved from "the
stake". Denouncing Abselon will not save her, but it will cost Abselon
dearly. Ironically, the treat is potent only so long as it is withheld.
Once Marte denounces Abselon, her fate is sealed. Abselon banks on this
dynamic.
A related plot thread places Anne at odds with Abselon's overbearing mother,
Merete. The youthful and attractive Anne is resentful of her imposed
marriage, and, scandelously, she has an eye for Abselon's adult son, Martin.
Merete see's all, and, knowing the history Anne's mother (now dead), issues
veiled threats to denounce Anne. "Have you noticed her glowing eyes?" she
tells Abselon. "Her mother had those eyes." Abselon is caught in the
middle, and the stress takes it's toll.
Pointedly, Anne is genuinly bewitching, and she temps the reluctant Martin
into a love affair. In Abselons presence, she openly marvels at the
ostensible power of whitchcraft, including the ability to summon and to
project death upon a chosen victim. Her eyes may indeed be glowing, and it
seems that the mythology of witchcraft gives power to both the church and to
those who practice the dark art. This is, perhaps, the overarching theme of
the film. i.e. that ignorance and fear are a basis for political power.
Visually, the film is literally awesome. In one scene, Marte kneels before
Abselon begging his deliverance. The camera views her from a high angle,
rendering her tiny and powerless. As the camera cuts to Abselon, he is
viewed from Marte's perspective, square in the center of the frame, and lit
dramatically from behind. He is power personified. Make no mistake, this
film has all the visual power of Dryers silent films.
This film is now number 2 on my list of all time greats..right behind "The
Testament of Dr Mabuse". Really incredible.
steve
--
"Politicians are worse than thieves. At least when thieves take your money,
they don't expect you to thank them for it."
Walter Williams
calvin
> "Day of Wrath" (1943) AKA "Vredens Dag" dir by Carl Theodor Dreyer
>
Right to my Netflix queue, hopefully to be seen Wednesday.
Didn't read much of your review, to avoid spoilers.
steve
On 23-Nov-2009, calvin <cri...@windstream.net> wrote:
> > This is one incredible film right from the opening credits, ...
>
> Right to my Netflix queue, hopefully to be seen Wednesday.
> Didn't read much of your review, to avoid spoilers.
I hope you enjoy it, calvin...we dont always see eye to eye on film. But I
can guarantee it will be an interesting experience, in any case.
My reviews are spoiler free (well, spoiler is a subjective concept,
obviously, but I try not to spoil any drama unless the discussion requires
it), unless otherwise noted.
No animals (or witches) were harmed in the writing of this review.
calvin
> On 23-Nov-2009, calvin <cri...@windstream.net> wrote:
> > > This is one incredible film right from the opening credits, ...
> > Right to my Netflix queue, hopefully to be seen Wednesday.
> > Didn't read much of your review, to avoid spoilers.
>
> I hope you enjoy it, calvin...we dont always see eye to eye on film. But I
> can guarantee it will be an interesting experience, in any case.
> My reviews are spoiler free (well, spoiler is a subjective concept,
> obviously, but I try not to spoil any drama unless the discussion requires
> it), unless otherwise noted.
> No animals (or witches) were harmed in the writing of this review.
I'll be very interested in your essay after I see the movie.
Usually, seeing a movie cold works best for me. Just
discovering the atmosphere is a good thing. I don't always
rave about the movies you rave about, but it's a good bet to give
them a try.
I still haven't gotten around to seeing 'Mauvaise Graine' yet,
but I see it's available on Netflix 'instant watch', so I'll watch it
shortly.
Mr. Mike
>This is one incredible film right from the opening credits, which literally
>scroll forth accompanied by medieval brass menacingly blaring in a low
>register.
Aside from a title card, there are no "credits."
The music which accompanies the scrolling manuscript that follows
includes reference to the Dies Irae (Day of Wrath) hymn:
steve
On 24-Nov-2009, Mr. Mike <m...@spamcop.net> wrote:
> >This is one incredible film right from the opening credits, which
> >literally
> >scroll forth accompanied by medieval brass menacingly blaring in a low
> >register.
>
> Aside from a title card, there are no "credits."
Thanks for the correction.
> The music which accompanies the scrolling manuscript that follows
> includes reference to the Dies Irae (Day of Wrath) hymn:
>
> http://en.wikipedia.org/wiki/Dies_Irae
That tune (hymn) sounds familiar...was that also incorporated into the
opening music?
David Oberman
>Aside from a title card, there are no "credits."
>
>The music which accompanies the scrolling manuscript that follows
>includes reference to the Dies Irae (Day of Wrath) hymn:
Is the Dies Irae in the Dorian/church mode?
____
It is not exactly that we learn from each other, for no one can
really learn anything except in and by himself; it seems better to
say that we learn because of each other, and, indeed, that if there
were no others, there could be no learning at all. In this there is
a mystery, for we know not how to account for the first beginning
of all learning.
-- Richard Mitchell, "Psyche Papers" Part III
steve
On 24-Nov-2009, David Oberman <dobe...@socal.rr.com> wrote:
> >Aside from a title card, there are no "credits."
> >
> >The music which accompanies the scrolling manuscript that follows
> >includes reference to the Dies Irae (Day of Wrath) hymn:
>
> Is the Dies Irae in the Dorian/church mode?
The excerpt in the link is ambiguous and could be dorian or natural
minor..the "missing" Bb could represent a C nat key signiture (suggesting
dorian) or it could simply be the absence of a key signiture (which I think
was the practice way back then). Dorian has become such a familiar sound
these days that it probably sounds less exotic than natural minor to the
modern ear.
On a related note (ahem), Frank Zappa called Dm7 to G (very dorian) the
"Carlos Santana secret chord changes".
David Oberman
>> Is the Dies Irae in the Dorian/church mode?
>
>The excerpt in the link is ambiguous and could be dorian or natural
>minor..the "missing" Bb could represent a C nat key signiture (suggesting
>dorian) or it could simply be the absence of a key signiture (which I think
>was the practice way back then).
If you were going to call it one or the other, which would you call
it? I'd call it a Dorian just because the "Day of Wrath" is an old
plainchant tune.
When Berlioz used the "Dies Irae" in his Wacky Symphony, did he
indicate a raised 6th (indicating Dorian)?
>On a related note (ahem), Frank Zappa called Dm7 to G (very dorian) the
>"Carlos Santana secret chord changes".
Good call, Frank! Also in Dorian is Fleetwood Mac's "World Turning"
steve
On 24-Nov-2009, David Oberman <dobe...@socal.rr.com> wrote:
> >> Is the Dies Irae in the Dorian/church mode?
> >
> >The excerpt in the link is ambiguous and could be dorian or natural
> >minor..the "missing" Bb could represent a C nat key signiture (suggesting
> >dorian) or it could simply be the absence of a key signiture (which I
> >think
> >was the practice way back then).
>
> If you were going to call it one or the other, which would you call
> it? I'd call it a Dorian just because the "Day of Wrath" is an old
> plainchant tune.
I think you must know something that I dont about the old music. I'll let
you know what is on the DVD when I get around to buying it.
David Oberman
>I think you must know something that I dont about the old music.
I know shit about old music! Just that these modal scales predate the
major & the minor.
>I'll let you know what is on the DVD when I get around to buying it.
Wait--are you talking about the Berlioz or the Dreyer? I'd like to get
the Dreyer on DVD, too.
steve
On 24-Nov-2009, David Oberman <dobe...@socal.rr.com> wrote:
> >I think you must know something that I dont about the old music.
>
> I know shit about old music! Just that these modal scales predate the
> major & the minor.
I dont know much about the history and development of ancient music, but I
do love the sound and instrumentation. Ever heard these guys:
http://www.bostoncamerata.com/
..or this band (oddly, a darling of the prog rock crowd even befoe they went
electric):
http://www.amazon.com/Gryphon/dp/B000R8P50A/ref=ntt_mus_ep_dpt_4
http://www.amazon.com/Gryphon/e/B000APYFQU/ref=ntt_mus_dp_pel
> >I'll let you know what is on the DVD when I get around to buying it.
>
> Wait--are you talking about the Berlioz or the Dreyer? I'd like to get
> the Dreyer on DVD, too.
Dreyer. Bought a used Criterion issue (Amazon) last night.
steve
David Oberman
>I dont know much about the history and development of ancient music, but I
>do love the sound and instrumentation. Ever heard these guys:
>
>http://www.bostoncamerata.com/
They used to be a big PBS favorite. I see that site is affiliated with
EMA (Early Music America). Check out these 1-minute radio spots from
EMA; each one has something brief to say about an early composer or a
form: http://www.earlymusic.org/early-music-radio-spots
Listen to the background of each announcement, find the ones you like,
& then seek those! Machaut, Dufay, Josquin, Lully, Tallis, Palestrina
(so important to Beethoven while he composed the Missa Solemnis), &
the earliest of the early birds, Leonin & Perotin.
calvin
> > > This is one incredible film right from the opening credits, ...
>
> > Right to my Netflix queue, hopefully to be seen Wednesday.
> > Didn't read much of your review, to avoid spoilers.
>
> I hope you enjoy it, calvin...we dont always see eye to eye on film. But I
> can guarantee it will be an interesting experience, in any case.
>
> My reviews are spoiler free (well, spoiler is a subjective concept,
> obviously, but I try not to spoil any drama unless the discussion requires
> it), unless otherwise noted.
>
> No animals (or witches) were harmed in the writing of this review.
I watched it today. A near flawless movie; I really enjoyed it. The
only Dreyer movie I had seen was 'The Passion of Joan of Arc' (1928),
but liked this one better. I also read your review. The only thing
I would take issue with was saying that Marte was willing to take
others down with her. She threatened to expose Anne if she was
not spared, but she didn't carry out the threat. Any movie that
involves
burning at the stake gets me going in the sense that there should
be no glossing over the horror of it. If the movie had a flaw it
would be Marte saying that she didn't want to die, which she
said several times. She should have said she didn't want to
be burned, in my opinion. Dying is nothing compared to being
burned alive. I'm quite sure that those condemned would pray
for any other death, to spare them from being burned.
That's only a quibble, though. The movie was so well made and
acted and plotted that every single scene was engrossing.
I don't have any deep perceptions about this movie, and no
doubt didn't really 'get it'. It seemed to me, though, that the
witches were better than the church, by far. I think they
were less cruel, and possibly more compassionate and merciful
than the church, which I don't think cared if it made mistakes
concerning who to burn alive.
It was the best movie I've seen in quite a while. Do you have any
other Dreyer movie to especially recommend?
steve
On 25-Nov-2009, calvin <cri...@windstream.net> wrote:
> If the movie had a flaw it
> would be Marte saying that she didn't want to die, which she
> said several times. She should have said she didn't want to
> be burned,
Hi Calvin. I suspect she feared both the pain of death and retribution in
the afterlife. NOTE: She repeatedly said "Save me from the stake." which
covers the fire angle, Id say.
> It was the best movie I've seen in quite a while. Do you have any
> other Dreyer movie to especially recommend?
I gave both "Ordet" and "Vampyr" 4 stars (scale of 5), but they dont compare
with Wrath and Arc. Still exploring Dreyer myself.
TT
which is a damn good spaghetti western with good ole revenge theme.