Carl Dreyer's final film (he lived four more years, but was unable to launch his pet project on Jesus) contains some of the most rarefied black-and-white photography -- very soft and gentle -- in the history of cinema. Or history of still photography either, for that matter. And indeed the images tend more toward stillness than motion, and a viewer is often apt to feel like turning the page before the characters are finished speaking. The old-style feminism, circa Ibsen's Doll's House, doesn't come near to filling up the void. The Dreyer devotee, however, can occupy himself part of the time with contemplation of the heroine as a nonsupernatural sister to the Day of Wrath witch. Nina Pens Rode. (1964) — Duncan Shepherd
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