Carl Theodor Dreyer, 1955
Reparto: Birgitte Federspiel (Inger, Mikkel's Wife); Ejner Federspiel (Peter Skraedder); Emil Hass Christensen (Mikkel Borgen); Cay Kristiansen (Anders Borgen); Preben Lerdorff Rye (Johannes Borgen); Henrik Malberg (Morten Borgen); Gerda Nielsen (Anne Skraedder); Ann Elisabeth Rud (Maren Borgen, Mikkel's Daughter); Ove Rud (Pastor)
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La locura y la feReparto: Birgitte Federspiel (Inger, Mikkel's Wife); Ejner Federspiel (Peter Skraedder); Emil Hass Christensen (Mikkel Borgen); Cay Kristiansen (Anders Borgen); Preben Lerdorff Rye (Johannes Borgen); Henrik Malberg (Morten Borgen); Gerda Nielsen (Anne Skraedder); Ann Elisabeth Rud (Maren Borgen, Mikkel's Daughter); Ove Rud (Pastor)
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Los Borgen son ricos y creyentes a su manera. El padre se separó del resto del pueblo a causa de su forma de entender la religión. Uno de sus hijos, Mikkel, está felizmente casado con Inger y es agnóstico, pero ella dice que no le hace falta la fe porque él es un hombre bueno. Otro hijo, Anders, corteja a la hija del sastre del pueblo, y el sastre no acepta darle la mano de su hija por su religión. El padre, Morten, no esta muy contento con la boda, a pesar de que Inger, su nuera, hace todo para convencerlo; pero cuando se entera de que su hijo Anders ha sido rechazado corre a casa del sastre y le exige que de su consentimiento para que la pareja pueda casarse.
El personaje más excéntrico es el tercer hijo de Morten Borgen, Johannes. Morten quiso hacer de él un pastor, pero en la universidad la lectura de Kierkegaard lo volvió loco y ahora cree que es Jesucristo. A veces escapa a las dunas y predica la palabra de Dios ante el mar.
Inger es el personaje más abnegado y bondadoso de la familia. Cuando da a luz su tercer hijo el parto de complica y pierde al bebé. Morten se da cuenta de cuanto necesita a Dios y cuanto asía que su nuera salga con vida. Pero aún no acaba de creer en la mano de Dios. Mientras toman la enésima taza de café de ese día, el médico, el pastor y Morten se preguntan a quien deben el desenlace feliz, ¿a Dios o a la medicina? Esa misma noche, Inger muere.
Johannes desaparece, le creen muerto, pero vuelve para ver el entierro con la cordura recobrada. Les dice que si tienen fe ella resucitará, y ellos vuelven a la certeza de que sigue loco. Sólo una niña, la hija mayor de Inger tiene fe en Jonannes.
Cine danés: Carl Theodor Dreyer, llevó a la pantalla la pieza del pastor y dramaturgo Kaj Munk estrenada en el teatro Betty Nansen de Copenhague en 1932. En ella Johannes, su protagonista, que en su juventud enloqueció por su excesivo celo en el estudio de Kierkegaard, cree ser Jesucristo, y operará, gracias a la fe de su pequeña sobrina, el milagro de la resurrección de su cuñada y madre de la niña, quien dando a luz prematuramente su tercer hijo había muerto en el parto. La ciencia, representada por el expeditivo médico, y la religión oficial, encarnada en el nuevo pastor del poblado, descreen de cualquier milagro y del poder de la fe.
Carles Moreno: Al relacionar Dreyer amb l'obra de Mondrian ja hem parlat de la importància de les línies en el cinema dreyerià, però hi ha més aspectes on apareixen aquestes línies. Trobem la importància de la incisió de la línia a través de la llum en els personatges d'Ordet, per exemple. Aquesta profunditat de la línia fa que la pel·lícula ens pugui recordar també a un gravat de Durer.
Ray Carney: Ordet is a film about change, growth, possibility; but the preceding remarks should suggest the extent to which this commitment is embodied in the very style of the camera-work and blocking itself.
Cinematheque: The religious tensions that fuel the piece come to a head when Inger dies in childbirth, and the half-mad, half-visionary Johannes prays for her resurrection. Ordet is a powerfully effective, deceptively simple work, distinguished by restrained acting, strangely becalming camera techniques, austere geometrical sets, and a slow, hypnotic rhythm. Its utterly unsettling closing sequence is one of the most extraordinary and enriching in the cinema, and has been the subject of much contention. Danish enfant terrible Lars von Trier's Breaking the Waves was a 1996 tribute.
Gary Morris: The possessed Johannes predicts her death, and she dies. Prompted by her daughter, Johannes commands Inger to rise from the dead, and she does.
Long Pauses: Ordet is really about faith, though. It’s about the mysteries and contradictions and beauty of such irrational belief. Unlike any other film I can name, though, Ordet treats this subject with both measured skepticism and reverence, forcing us to distance ourselves, even if only temporarily, from our personal beliefs so that we might reexperience “true faith” (whatever that is) free of cultural baggage and biases.
Senses of cinema: Perhaps the most representative of Dreyer’s feminine ideal, however, is not the inexhaustible conviction and impractical idealism of Joan or Gertrud, but Inger’s (Birgitte Federspiel) role in the Borgen household in Ordet (1954)—maternal, yet sensual; spiritual, yet practical; unshakable personal conviction, yet conciliatory and tolerant. Her pragmatism, spirituality, and warmth serves as the unifying force for the family, reconciling the ideological and emotional division among her morally good, but agnostic husband.
Stef Loy: In both the silent The Passion of Joan of Arc and in Day of Wrath he boldly confronted the church's ideology of religious intolerance by showing them a previous establishment's thirst to turn infidels into martyrs. Here he shows us point-blank the difference between the weight of religion and the simple faith of a child.
Greg Nynquist: Dreyer seems more or less comfortable with the tragedy of the world. He has the faith that Bergman largely lacks.
Strictly film school: There is a glimpse of its elusiveness in Johannes' distracted, rambling speech, questioning people's skepticism and inability to accept the existence of miracles in the modern world. Peter's callousness and intractability reflect the intolerance of placing organized religion above compassion and human decency, an austerity similarly explored by Ingmar Bergman.
Dreyer | imdb
Rotten Tomatoes
Carles Moreno: Al relacionar Dreyer amb l'obra de Mondrian ja hem parlat de la importància de les línies en el cinema dreyerià, però hi ha més aspectes on apareixen aquestes línies. Trobem la importància de la incisió de la línia a través de la llum en els personatges d'Ordet, per exemple. Aquesta profunditat de la línia fa que la pel·lícula ens pugui recordar també a un gravat de Durer.
Ray Carney: Ordet is a film about change, growth, possibility; but the preceding remarks should suggest the extent to which this commitment is embodied in the very style of the camera-work and blocking itself.
Cinematheque: The religious tensions that fuel the piece come to a head when Inger dies in childbirth, and the half-mad, half-visionary Johannes prays for her resurrection. Ordet is a powerfully effective, deceptively simple work, distinguished by restrained acting, strangely becalming camera techniques, austere geometrical sets, and a slow, hypnotic rhythm. Its utterly unsettling closing sequence is one of the most extraordinary and enriching in the cinema, and has been the subject of much contention. Danish enfant terrible Lars von Trier's Breaking the Waves was a 1996 tribute.
Gary Morris: The possessed Johannes predicts her death, and she dies. Prompted by her daughter, Johannes commands Inger to rise from the dead, and she does.
Long Pauses: Ordet is really about faith, though. It’s about the mysteries and contradictions and beauty of such irrational belief. Unlike any other film I can name, though, Ordet treats this subject with both measured skepticism and reverence, forcing us to distance ourselves, even if only temporarily, from our personal beliefs so that we might reexperience “true faith” (whatever that is) free of cultural baggage and biases.
Senses of cinema: Perhaps the most representative of Dreyer’s feminine ideal, however, is not the inexhaustible conviction and impractical idealism of Joan or Gertrud, but Inger’s (Birgitte Federspiel) role in the Borgen household in Ordet (1954)—maternal, yet sensual; spiritual, yet practical; unshakable personal conviction, yet conciliatory and tolerant. Her pragmatism, spirituality, and warmth serves as the unifying force for the family, reconciling the ideological and emotional division among her morally good, but agnostic husband.
Stef Loy: In both the silent The Passion of Joan of Arc and in Day of Wrath he boldly confronted the church's ideology of religious intolerance by showing them a previous establishment's thirst to turn infidels into martyrs. Here he shows us point-blank the difference between the weight of religion and the simple faith of a child.
Greg Nynquist: Dreyer seems more or less comfortable with the tragedy of the world. He has the faith that Bergman largely lacks.
Strictly film school: There is a glimpse of its elusiveness in Johannes' distracted, rambling speech, questioning people's skepticism and inability to accept the existence of miracles in the modern world. Peter's callousness and intractability reflect the intolerance of placing organized religion above compassion and human decency, an austerity similarly explored by Ingmar Bergman.
Dreyer | imdb
Rotten Tomatoes
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