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08 August 2024 Bonn (Germany)
Internationale Stummfilmtage: Ehret eure Frauen / Master of the House / Du skal ære din hustru
Sabrina Zimmermann (Violin) & Mark Pogolski (Piano) - Arkadenhof der Universität Bonn
Program Info: Carl Theodor Dreyer is one of the most important and influential filmmakers in film history. His historical film LA PASSION DE JEANNE D'ARC (1928) is often considered one of the “best films of all time”. In contrast to his dark, spiritually influenced melodramas, the Danish master director presents a more funny side with this satirical family drama. The story about a tyrannical family man who is raised to be a model husband by his former nanny still seems very modern today from a feminist, equal perspective.
Available to stream from August 10th to 12th, 2024 on https://stummfilmtage.culturebase.org
Carl Theodor Dreyer is one of the most important and influential filmmakers in the history of cinema. His period drama LA PASSION DE JEANNE D'ARC (1928) is often considered to be one of the "best films of all time". In contrast to his dark, spiritual melodramas, the Danish maestro reveals his humorous side with this satirical family drama. The story of a tyrannical father who is raised to be a model husband by his former nanny still strikes a very modern note when viewed from a feminist, egalitarian perspective.
First of all, a film that has the courage to tell the truth, that doesn't avoid everyday life - like three quarters of “world production” at the moment. A film between smiles and tears, a film about life as it is. A rare melody! But once a sound that hits the heart.
A family, petty bourgeois. The man has become a hypochondriac due to medium-sized strokes of fate. Makes life miserable for himself and his family. Then his wife leaves him - and only then does she win him over. When she finally comes back, he has overheard a lot of the great secret: the art of living. This is told simply and without highlights.
But, even if the pace of the film is lacking here, and therefore no academically defensible, dramaturgically safe film has been created - rarely has a film producer like this had the courage to tell simple, everyday truth. And that is actually worth a little more to me than speed and dramaturgical “skill” and the like.
Carl Theodor Dreyer strings together idea after idea. Here every piece lives, here there are no masked people walking around in “decorations”, no stage heroes, no machinations, here there is only simple, plain, straightforward, everyday life.
The architecture was not noticed as such: so it was beyond praise. Some of the photography technology is a bit outdated. The camera had not yet been discovered by Dreyer's surgeon to the extent known to us (not to mention the unleashed camera). The film deserves a great success - even though it follows life more than the laws of film art.
Felix Henseleit, in: Reichsfilmblatt, No. 12, March 26, 1927
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