Vredens dag (1943)

Director:

Carl Theodor Dreyer

Writers:

Release Date:

24 April 1948 (USA)

Genre:

Drama | Romance

Plot:

In a 17th-century Danish village, an old woman is accused of witchcraft. In the shadow of her flight...

Plot Keywords:

Pastor | Confession | Witch | Love | 17th Century

Cast

Kirsten Andreasen	...	(uncredited)
Sigurd Berg	...	(uncredited)
Albert Høeberg	...	The Bishop (uncredited)
Harald Holst	...	(uncredited)
Emanuel Jørgensen	...	(uncredited)
Sophie Knudsen	...	(uncredited)
Preben Lerdorff Rye	...	Martin (Absalon's son from first marriage) (uncredited)
Lisbeth Movin	...	Anne Pedersdotter (Absalon's second wife) (uncredited)
Preben Neergaard	...	Degn (uncredited)
Sigrid Neiiendam	...	Merete (Absalon's mother) (uncredited)
Emilie Nielsen	...	(uncredited)
Thorkild Roose	...	Rev. Absalon Pederssøn (uncredited)
Hans Christian Sørensen	...	(uncredited)
Anna Svierkier	...	Herlofs Marte (uncredited)
Olaf Ussing	...	Laurentius (uncredited)
Dagmar Wildenbrück	...	(uncredited)

Also Known As:

Day of Anger (USA) (video title)
Day of Wrath (USA)

Runtime:

97 min | USA:110 min | Argentina:94 min

Country:

Denmark

Language:

Danish

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Australia:M | South Korea:15 (2003) | West Germany:16 (w) | Finland:S | Argentina:13

Company:

Palladium Productions

Trivia:

Though the film is outwardly a chronicle of a religious witch-hunt, it contained many subtler comparisons to the behavior of the Nazis (torture and questioning) and Carl Theodor Dreyer fled Denmark for Sweden where he remained until the war was over.

Goofs:

Anachronisms: The film is set in 1623. But at the back of the main room, where much of the action takes place, is a large wooden chest with a Latin inscription, mostly legible: "[Quae?] parum novit nemo docere potest 1639."

Quotes:

Martin: Shall we ever find each other again?
Anne Pedersdotter: Who shall prevent it?
Martin: The dead.

Movie Connections:

Referenced in Journal d'un curé de campagne (1951)

Deep religious drama from one of the greatest directors

This is a movie that tackles so many issues I can hardly find the words to comment on it in a limited amount of space. Dreyer has got to be one of the greatest directors ever. Regardless of the story and the "philosphy" behind his movies his style of composition is amazing. Just as Picasso was able to create a masterpiece with one strike of the brush, Dreyer makes a perfect shot with only minimal but perfect directing. Nothing is ever misplaced, the camera cuts only when it is strictly necessary, the actors seem to be pulled by strings to achieve a perfect feeling of position within the frame, the general environment, even if simple is there for a purpose.

The story, placed in 17th century Denmark is not only revealing for that period and for 1943 (when Denmark was occupied by the Nazis)but for any age, just like Seventh Seal or Winter Light. Bergman definitely comes to mind when watching this. But unlike the Sweedish director whose arguments against the Church and his feeling of despair caused by the death of God are pervasive, Dreyer is more ambiguous. In the first part of the film you could say that he makes everything possible to show us religious bigotry and its devastating consequences. But from this he does not make a case, such as Bunuel for instance, against the Church itself. And by the end of the movie you are aware that the problems are so intertwined that no one, not even a great director or novelist or whatever can make a case either for one side or the other, that is either for God or against him. With his attitude Dreyer reminded me in a way of Dostoievsky whose characters are also ambiguous and can never quite make up their minds if one is to simply believe without questioning or question without believing.

As far as movie making goes I can find nothing wrong with this, and since the story moved me so deeply I can only give it a ten.