In viewing "Ordet", a Danish film directed by Carl Th. Dreyer, one can scarcely avoid perceiving a religious theme. However, peering beyond the surface, it is also clear that the film's theme is significantly more complex, and exhibits an underlying existentialism, as well as a series of conflicts which relate to love, passion, society, and family. The latter elements lend an altogether human aspect to the film, allowing even the religious facets to convey the doubts and skepticism associated with human nature.
In the final scene of "Ordet", the setting is a funeral in the home of Mr. Borgen, the grandfather of the farm on which the deceased (Inger) lived and worked as the daughter-in-law. This scene is characteristic of the style utilized throughout the film, which has been referred to as both transcendental and expressive inner realism. In both interpretations, conventional perceptions of reality are defied and normalcy is at odds with disparity. Dreyer can, perhaps, be credited with moving beyond defiance to a thorough redefinition of realism. This is evident in his focus on the inner struggle of his characters, rather than simply the societal norms with which they were expected to conform.
As a spectator, "Ordet" affected me emotionally by emphasizing the fulfillment associated with a mortal existence in which miracles are defined by the value we place on earthly and otherwise ordinary experiences. The characters of this domestic drama convey a sense of familiarity through their interactions, and their struggles are tremendously relatable. As noted by Dreyer at the end of his screenplay, "spectators must gradually and carefully be placed in an emotional state like that of guests at a funeral", an effort which was visually achieved through long shots and slow camera movements. On an intellectual and emotional level, this movie is accessible to the ordinary, yet thought- provoking to the philosophical.
In the final scene of "Ordet", the setting is a funeral in the home of Mr. Borgen, the grandfather of the farm on which the deceased (Inger) lived and worked as the daughter-in-law. This scene is characteristic of the style utilized throughout the film, which has been referred to as both transcendental and expressive inner realism. In both interpretations, conventional perceptions of reality are defied and normalcy is at odds with disparity. Dreyer can, perhaps, be credited with moving beyond defiance to a thorough redefinition of realism. This is evident in his focus on the inner struggle of his characters, rather than simply the societal norms with which they were expected to conform.
As a spectator, "Ordet" affected me emotionally by emphasizing the fulfillment associated with a mortal existence in which miracles are defined by the value we place on earthly and otherwise ordinary experiences. The characters of this domestic drama convey a sense of familiarity through their interactions, and their struggles are tremendously relatable. As noted by Dreyer at the end of his screenplay, "spectators must gradually and carefully be placed in an emotional state like that of guests at a funeral", an effort which was visually achieved through long shots and slow camera movements. On an intellectual and emotional level, this movie is accessible to the ordinary, yet thought- provoking to the philosophical.
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