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Why you should come see Ordet
Long praised for its cinematography, Dreyer’s ‘Ordet’ is a strange little film. Ostensibly religious, it refuses dogma to embrace uncertainty and hope, and even (god forbid) the miraculous.
The film revolves around a farmer’s family. He has three sons: one is agnostic, one has fallen in love with a fundamentalist’s daughter, and the third believes he is Jesus Christ. Sounds a little like my poker group.
The plot revolves around their interactions, but really is it the characters themselves who command the film, at times speaking as though there is no camera, no audience, even no other actors.
Dreyer is more well known for The Passion of Joan of Arc, and Ordet is undoubtedly a more difficult film, resisting easy analysis and demanding, especially at the beginning, patience from the viewer. But as Roger Ebert remarked, “once you’re inside, it is impossible to escape.” There is a strange, almost sexual undercurrent running through scenes which appear on the surface clear and pristine. Its very style (only 114 shots, each averaging over a minute, and only 3 close-ups) is part of the narrative; it works on the attentive viewer slowly, relentlessly, and with a subtle grace.
If you haven’t seen Dreyer before, keep Wednesday night free.
“When the film was over, I had plans. I could not carry them out. I went to bed. Not to sleep. To feel. To puzzle about what had happened to me. I had started by viewing a film that initially bored me. It had found its way into my soul. Even after the first half hour, I had little idea what power awaited me, but now I could see how those opening minutes had to be as they were.”