By Jan Wahl
Regarded through many filmmakers and critics as one of many maximum administrators in cinema heritage, Carl Theodor Dreyer (1889--1968) accomplished around the world acclaim after the debut of his masterpiece, The ardour of Joan of Arc (1928), which was once named the main influential movie of all time on the 2010 Toronto foreign movie pageant. In 1955 Dreyer granted twenty-three-year-old American scholar Jan Wahl the intense chance to spend a special and unforgettable summer season with him throughout the filming of Ordet ( The note ).
Carl Theodor Dreyer and Ordet: My summer season with the Danish Filmmaker is an enthralling account of Wahl's time with the director, in response to Wahl's day-by-day magazine debts and transcriptions of his conversations with Dreyer. providing a glimpse into the filmmaker's global, Wahl models a portrait of Dreyer as a guy, mentor, good friend, and director. Wahl's distinct and fascinating account is supplemented through beautiful photographs of the filming and by means of choices from Dreyer's papers, together with his notes on movie kind, his creation for the actors earlier than the filming of Ordet, and a visionary lecture he introduced at Edinburgh. Carl Theodor Dreyer and Ordet information one student's striking studies with a mythical director and the not going bond shaped over a summer.
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Extra resources for Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker
These are real jewels,” he declared. “But the greatest jewel for me you can’t guess. Kaj Munk wrote The Word with me in mind for the part of Borgen. However, the Royal Theater, to which I was under contract, turned down Sardines and cigars 27 the play on the grounds that The Word demands an intimate audience, and the Royal Theater seats sixteen hundred. When a small, intimate theater in Copenhagen, the Betty Nansen, agreed to do the play, the Royal Theater would not release me. To this day I have been unhappy over the affair; I felt cheated and regard this opportunity of playing Borgen as a personal triumph.
I had to run across our field to get help for Inger, who was struck ill in the story. ’” Next she told me she had to scurry back to the washtubs, but if I ever got bored, I should come inside; she had a copy of The Poems of Robert Burns. m. The sky had been pitch-black. Now it was more blue-gray, yet the sun was not out yet. Some members of the company waited in the farm’s drawing room; others huddled inside the van or the old Dodge. Among the latter was Henning Bendtsen, the bearded cameraman, as well as two apprentices, Erik Willumsen and John Carlsen.
The camera was to slide backward as they shuffled in. Dreyer decided Sylvia Eckhausen (playing Peter’s wife) should hold a psalm book, so farm owner Valdemar Kristensen fetched one from the house. Dreyer watched through the lens for a full twenty minutes or more. ” Karen Petersen ran inside Borgensgaard and returned with a black high school songbook. ” she asked anxiously. “Yes,” he replied, and the shot was made. That afternoon the film’s producer, Herr Tage Nielsen, arrived from Palladium. I was shooed a distance away so as not to be witness to the brief discussion.
Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker by Jan Wahl
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