Day of Wrath

Day of Wrath (1943)

*** 1/2 (out of 4)

Carl Theodor Dreyer's dark tale about a Reverend (Thorkild Roose) who allows a woman to be burned at the stake for being a witch only to eventually lose his much younger wife (Lisbeth Movin) to his own son (Preben Lerdorff Rye). I've been quite critical of the director with some of his movies and I've always been honest in saying that there's just something about his style that doesn't always work for me but I found DAY OF WRATH to be a completely compelling picture that pretty much grabs you from the start and doesn't let go. I know a lot of people, myself included, has complained about the director's sometimes slow pacing and that slowness is here again but I think it really helps this picture. I really liked the slow start of the picture dealing with the elderly woman who feels that the reverend should spare her life. I thought this led to some interesting situations and in one of the best scenes in the film, the wife questions why or how anyone could be given so much power. I also really enjoyed the middle section of the film dealing with the relationship between the wife and son. At first I was really wondering how on Earth these two could have fallen in love so fast and especially since we didn't see it happen but I think this here pays off towards the end of the picture. The three lead actors all do a terrific job in their part and I was especially impressed with Movin as I found her to be incredibly touching in her role as well as highly seductive. The beautiful cinematography is another major plus for the film and I really loved the use of darkness and shadows. DAY OF WRATH is a very open and honest look at religion and love and I think it ranks as one of the director's best films.

Dreyer's pictures are absolutely mind-boggling .We seem to be in a Rembrandt's or Georges de la Tour's painting.He works with his camera the way a painter does with light to create different textures ,highlights and shadows.The scenes inside the minister's house where the world is still the prey of the good/evil concept are in direct contrast to those ,luminous and pastoral,where the lovers try to reinvent life:some kind of Garden of Eden,which the apple tree on the picture has promised.

Anne's passion was doomed from the start:her situation recalls that of Phaedra:both are pure even in sin,both are victims of an implacable heredity.Even before Martin's appearance ,the over-possessive mother leaves her no chance at all.

Remarkable sequences: the old woman's "trial",her tortures,her screams (I'm not afraid of Heaven or Hell ,I'm afraid to die!" Her death at the stake ,with Ann looking through the window pane ,and realizing it's an omen.The children singing terrifying canticles about God's wrath.

The minister beginning to wonder if his faith is strong enough and the wife's infamous revelation.

The nature which was a refuge, the only sunlight the lovers could get,becomes misty ,almost dark,as the young man has lost all his hopes and illusions."No,Ann says ,it all begins" It's the seventeenth century and Ann is too ahead of her time.She and the old woman are the real human beings in the movie:the minister and his sinister mother are already dead when the film begins as much as the dying man he comforts in his last hour .Martin has got himself tangled up in remorse,superstitions (You've got a magic power) and if life means rebellion and fight ,his surrender leaves him a living dead.

The old woman ,the "witch" ,is afraid to die,which is human:Jeanne D'Arc herself,another "witch" which inspired CT Dreyer had her moments of doubt and fear,and she abjured to save her life .

"Vredens Dag" can still grab today's audience.This is a must.

I Fancy there'd be a good reason to feel a bit irked during most of the days of the 17th century, especially if you were a bonny lass with a celibate husband twice your age, a hag of a mother-in-law and you fancied your stepson something rotten. A bewitching film leaves us grateful we are alive today and thankful for our libertarian ways, with the director catching the essence of life's frustrations, misunderstandings and heinous cruelties during those times to perfection.

Dreyer's feature from the 40's (he roughly made one in each of the last four decades of his life) is another example of his unique talent. Day of Wrath is less whitish than other of his films, but the director's trademark lighting is at it best here. The film has elements in common with The Passion f Joan D'Arc, dealing with a powerful leading female and matters of Grace, witchcraft and Puritanism.

Dreyer masters a somehow theatrical plot with pure mise-en-scéne, using constant intercutting between indoor and outdoor spaces. The oppression of the family house, determined by heavy shadows and a mummified environment, is superbly embodied by his actors, all of them complex and full of grey zones, people that hide the most of their performances, and whose deliveries are effective and economic thanks to Dreyer's direction. He seems to direct their eyes only, the barren faces around them becoming a sort of empty canvas. The family and the world surrounding it invoke questions of transcendence that their own fails and temporality contradicts. That temporality is portrayed by an ever-present tick tack of a wall clock. Anne's fall occurs not because of his sin, rather because of her submission to the transcendence of love that seems to be impossible in such a universe, where the possibility of a passion leads inevitably to a Passion, in strictly religious terms.

As in other Dreyer's films, simple actions become memorable moments through the director's portrait and comment of them, like when the young son drinks from Anne's hands like a docile dog or the lovers' kissing behind the grass. A fantastic personal film from one of the most remarkable and coherent filmmakers of all time.

One of Dreyer's most accessible works; it has a dramatic story (witch hunting!) and still investigates the characters' morality and their relation to the world they exist in. This film is about the difference between life and the soul (the life that you live now and the soul of post-life, and the soul that fills your life as you live it), those at the stake and those on trial in the home, and the spells we cast on each other. When an accused witch confesses to being one to hopefully save her life (which doesn't happen) she threatens with witchery the man who won't save her. Obviously witches don't exist, but why, when sentenced to death, would she suddenly say she has a witch's power? To frighten him? Because she believes that she must be a witch, if others think she is? Or just to scare him? It's not clear. This is Dreyer's most overtly sexual film, where sex is a weapon (that eventually leads to a death); we see the relationship between the young girl, Anne, who falls in love with her much older husband's son (the same actor who played Johannes in Dreyer's next great film, "Ordet"), and, by the end of the film, we see that she has cast her spell on him, and is herself to be accused of being a witch.

Dreyer's films, which got more difficult as he got older, don't seem to have a date; certainly period pieces like this exist in a certain time, but put "Day of Wrath" next to "Gertrud" and you'd hardly notice a twenty year difference -- or few hundred years difference, in terms of the setting. And yet Dreyer's sense of place is almost unmatched, largely because of his simplicity: the costumes seem almost amateur, the acting is theatrical -- not so much in style, but in presentation (the actors seem to have been told where to stand and when). His films exist purely within this world he created, not minding the styles of the day; he's the truest of auteurs. He is also one of the great directors of women, and here elicits excellent performances from his entire cast (keeping in mind the date of production) but especially those of the two mothers in the film, the one who is put to the stake, and the other who is the mother to Anne's much older husband.

Despite the heavy seriousness of the religious beliefs in the film, Dreyer isn't religiously driven. He is driven by the soul, but these films are not the works of a fundamentalist. Dreyer looks at the actions of the characters, which are, at their worst, adultery and murder, and uses them as a moral, spiritual, and personal crisis in which to look for nothing less than meaning in life. 9/10