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 »
Victor Frandsen is a domestic tyrant. His wife Ida has to work as a slave for him and the rest of the family. She rises early to prepare everything for the day, she toils all day long, and ... See full summary »
Carl Theodor Dreyer
It's New Year's Eve. Three drunkards evoke a legend. The legend tells that the last person to die in a year, if he is a great sinner, will have to drive during the whole year the Phantom ... See full summary »
The judge in a Danish town sees his illegitimate daughter facing a trial for the murder of her newborn child, and is rather sure that she will be sentenced to death. She became pregnant ... See full summary »
Carl Theodor Dreyer
Young traveler Allan Grey, a student obsessed with the occult, arrives in a remote inn and starts seeing weird, inexplicable sights (a man whose shadow has a life of its own, a mysterious scythe-bearing figure tolling a bell, a terrifying dream of his own burial). Things come to a head when one of the daughters of the owner of a nearby castle is dying of what appears to be anemia - or is it something more sinister? Written by
Michael Brooke <firstname.lastname@example.org>
For much of the cast, this was there only film appearance since they were not professional actors. Henriette Gérard who played the vampire was a French widow, Jan Hieronimko who played the village doctor was a Polish journalist, Rena Mandel who played Gisèle was an artist's model. Even Julian West (real name: Baron Nicolas de Gunzburg) who played Allan Grey, was French-born member of Russian nobility who agreed to finance the film in exchange for the leading part. (He later emigrated to America where he became a powerful fashion journalist and mentor to designers like Calvin Klein.) See more »
At exactly 16 minutes (in the Criterion DVD) as the camera pans right, there is a reflection in a glass window of the camera operator cranking the camera. See more »
It is understandable that many take issue with Vampyr due to an absence of conventional moviemaking factors that make an average film watchable. However, I believe that this is more a problem of the viewer than one with the filmmaker, and it all begins with whether or not one watches expecting to be frightened in a generic horror flick manner. This is not a scary movie; it is one that fundamentally blurs the lines between dreams and reality. It is not a silent film or a talkie, but something in between, and that fits in perfectly with the idea of it being an experience much like a bad dream. There are few professional actors (two, in fact, and neither would be considered the leading actors), and long takes that would drive a Hollywood film editor to distraction. They are selected more for their appearance and natural manner than for any exceptional gift as an actor/actress, and it is my belief that that adds more than detracts from the experience. The reactions of the characters are far more visceral and simple than in most films of this depth, and it helps create the mesmerizing, hypnotic effect few movies can create. It is designed, I believe, to be seen in a dark room, preferably alone and late at night, just prior to going to bed. If the viewer is a little sleepy, so much the better: for the true power of the film will only be revealed as you dwell on it afterwards while you struggle to go to sleep. Then,and only then, will the full might of Carl Theodore Dreyer's vision be revealed.
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