Films/DVD Asylum

Movies from comedy to drama to your favorite Hollyweird Star.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

These three Dreyer films had a profound affect on me.

Posted by Harmonia on February 6, 2008 at 19:09:01:
...Vampyr, The Passion Of Joan Of Arc and Ordet.

I encountered them in film class as a young lass of 19 and 20 - I was never the same again. I think my jaw fell into my lap durring Vampyr. The Passion of Joan of Arc moved me to copious tears. Ordet is just as shocking and beautiful today as it was in 1955, one of the finest films about faith ever made, and the only film I know containing an amusing reference to Kierkegaard.

The Art Institute of Chicago had 16mm copies in their stash and Stan Brakhage used to teach them in his film history class. We also used to dig them out during evening film club and watch them over and over. I have them on DVD and was pleased to see TCM doing a Dreyer retrospective a couple years ago. Ordet comes in a set with Gertrud and Day of Wrath, also recommended, though in my mind not quite the staure of the afirementioned trio.

Dreyer's films have been hugely unfluential - Tarkovsky, Von Trier, Kurosawa, Bergman - the stunning wide shot exteriors, the slow panning interiors shots, the magical lighting, the pure, austerely composed images, the understated acting. The editing of the sequence of Joan at the stake is one of the marvels of film, with an almost unbearable instensity rendered in fluid close-up of Falconetti's face.

Dreyer is essential viewing for anyone interested in film.