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Munich, 1955: A sports journalist meets Veronika Voss, an UFA actress who supposedly had an affair with Goebbels. Now declining, Voss is kept by her "kind" doctor, Dr. Katz, supplying her ... See full summary »
This drama follows the last few days in the life of Elvira (formerly Erwin) Weisshaupt. Years before, Erwin told a co-worker, Anton, that he loved him. "Too bad, you aren't a woman," he ... See full summary »
Rainer Werner Fassbinder
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 »
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Rainer Werner Fassbinder
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Carl Theodor Dreyer is a young journalist in Copenhagen when he gets involved in the early Danish film industry. He writes scripts and inter-titles, and for some years he is the main editor... See full summary »
Torben Skjødt Jensen
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Affecting pastoral precursor to Dreyer's later work
BRIDE OF GLOMDAL is a lovely pastoral film. The Romeo and Juliet theme of the script- lovers kept apart by male parents - would be echoed and developed further in his ORDET. There it was conflicting religious views of the patriarchs that prevented the smooth coupling. Here it is simply that the feisty heroine's father has promised her to a neighboring farmer's son, rather than settle for the poorer inheritance her Romeo would bring.
She is a strong heroine and won't be bought. She runs away and is brought to her betrothed's family, later shifted to the priest's house out of delicacy. The priest is the go-between, visiting and berating both the heroine's father and the father-in-law/husband, the latter would have chosen for her.
There is a bit of D.W. Griffith melodrama on the wedding day, when the rebuffed suitor sets adrift the boats that join the two families across a dividing river and our hero, in his attempts to cross on horseback, is swept into the current, but all comes right in the end.
This is an extremely rare film - the only print I know of is housed at the Norsk Filminstitutt and I viewed a video copy of same without musical score and with Norwegian/Danish? inter-titles. The print was 74 minutes in length, shorter by far than the original 115 minute release.
For Dreyer fans, this is worth seeking out. He is already laying plans and exploring human feeling, movement and facial expression for use in his later masterpieces.
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