At the world premiere of "Gertrud" in Paris, December 1964, Dreyer is greeted by many celebrities of the French cinema: Clouzot, Langlois, Truffaut, Godard, Anna Karina. Afterwards Dreyer ... See full summary »

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At the world premiere of "Gertrud" in Paris, December 1964, Dreyer is greeted by many celebrities of the French cinema: Clouzot, Langlois, Truffaut, Godard, Anna Karina. Afterwards Dreyer delivers short comments on the style of each of his films. Already in his first film, from 1920, he strove for simplicity, especially in the set design. He started from the idea that each apartment gives an impression of the owner's personality. By removing all superfluous details of the furnishing, the remaining, simplified scenery gives a heightened sense of authenticity. An authentic setting creates, according to Dreyer, a genuine style. To find this authenticity he often studies paintings from the period in which the story takes place. In his later films he brings this simplification process even further. He removes everything from the film that is not related to the story. He also simplifies the dialogue to find a more concise form, whereby he comes closer to the style of tragedy. Written by Maths Jesperson {maths.jesperson1@comhem.se}

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14 November 1966 (Denmark)  »

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Carl Theodor Dreyer  »

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Capturing Dreyer At The End
10 June 2013 | by (United States) – See all my reviews

At the world premiere of "Gertrud" in Paris, December 1964, Dreyer is greeted by many celebrities of the French cinema: Clouzot, Langlois, Truffaut, Godard, Anna Karina. Afterwards Dreyer delivers short comments on the style of each of his films.

What can I say? This is pretty straightforward -- Dreyer speaking for about twenty minutes on his work, with a few notable guests who have shown up to support him. While this hardly captures his whole career -- a full documentary of multiple hours would be needed to really examine him in any detail -- it gives glimpse inside the man's mind.

I certainly recommend this, as I think Dreyer is often forgotten and ignored by modern film scholars. He should be celebrated.


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