After seeing D. W. Griffith's epic Intolerance, Denmark's greatest director, Carl Theodor Dreyer (The Passion of Joan of Arc, Vampyr), was inspired to make his own four-episode historical ... See full summary »
EROTIKON surely pushed the boundaries of what was acceptable on the screen in 1920: Irene, the bored wife of a distracted entomologist, pursues a womanizing aviator, but she may actually be... See full summary »
During a dinner, given by a wealthy baron and his wive, attended by four of her suitors in a 19th century German manor, a shadow-player rescues the marriage by giving all the guests a ... See full summary »
Claire Lescot is a famous prima donna. All men want to be loved by her. Among them is the young scientist Einar Norsen. When she mocks at him, he leaves her house with the declared ... See full summary »
Léonid Walter de Malte,
The owner of a Waxmuseum needs for three of his models stories to be told to the audience. For that reason he has hired a writer, who after one look athe owner's pretty daughter, starts ... See full summary »
A young man is elected by a small village to be its parson. As part of his duties, he is required to marry the widow of the parson before him. This poses two problems--first, the widow is ... See full summary »
A young man is convicted of manslaughter and sentenced to a term in prison. There he forms a close relationship with his cellmate and upon his release his wife is concerned as to how prison has changed the man she married.
In the castle Vogeloed, a few aristocrats are awaiting baroness Safferstätt. But first count Oetsch invites himself.. Everyone thinks he murdered his brother, baroness Safferstat's first ... See full summary »
After seeing D. W. Griffith's epic Intolerance, Denmark's greatest director, Carl Theodor Dreyer (The Passion of Joan of Arc, Vampyr), was inspired to make his own four-episode historical epic with each story told end to end, anthology-style, linked by theme to the others. The unifying character, Satan, attempts to win God's favor but is doomed to cheerless participation in dark episodes of human history: the temptation of Jesus, the Spanish Inquisition, the French Revolution and the Russo-Finnish war of 1918. Few directors resisted compromise and convention the way Dreyer did; fortunately, the Nordisk Film Company was artistically progressive by Hollywood standards and agreed that this should be a prestige film made to the highest standards. More than two years in production, Dreyer not only directed but also controlled every facet of this ambitious production. Written by
This was Dryer's third film and while his second, THE PARSON'S WIDOW, is a finely wrought, wry comedy/drama with many of the trademarks of Dreyer's later visual and dramatic forms already evident, LEAVES FROM SATAN'S BOOK is rather a throw back to the old style of silent film making - emotional posturing rather than subtlety, rare use of close-ups, tableaux composition.
So many of Murnau's early films are like this as well, then suddenly a revelation and in 1924 THE LAST LAUGH revolutionizes film making. Dreyer's style in THE PARSON'S WIDOW and MICHAEL (not to mention his masterpiece, THE PASSION OF JOAN OF ARC) is singular and identifiable. However, not so in LEAVES. One wonders if he simply lost interest in it and directed it pedantically to get it out of the way.
It's a very long film - two hours and ten minutes in Grapevine Video's DVD release (as opposed to one hour, 50 minutes in original release and the TCM print running nine minutes shorter than Grapevine's - 121 minutes). It is divided into four sections, showing Satan coming to earth to tempt man - and always saddened by man's weak will, for every Satanic success means more years in Hell, while every resistant human soul wins a thousand years credit against Satan's sentence.
Section One involves Judas' betrayal of Christ (27 minutes); Section Two, set during the Spanish Inquisition relates a monk's lust for a young girl (26 minutes); Section Three - the longest at 46 minutes and the most interesting - is set during the French Revolution in 1793; and Section Four was set in Dreyer's contemporary time (1918)and involves Finland and the Russian invasion - 31 minutes.
Section One is a bore since we know the story. Sections Two and Four are mildly interesting, although we can see where they are heading. Quite the best and above all the others is section Three, where the levels of drama and script are multi-layered and where we really cannot predict how it is going to turn out.
For Dreyer fans, since he made so few films (only 9 silent features and 6 talking features, plus many short subjects), this is a must for the collection, but its interest is mainly historical, as it does not contribute significantly to the art of film.
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