Review of Gertrud (1964) by Freddie F — 15 May 2012

Carl Th. Dreyer is a director whom I have oft admired greatly in the past. His "Ordet" ranks amongst my favorite films. That work was a brilliant examination of man's faith and family; it moved with careful intent, and possessed one of the most engaging, and yet challenging, endings to any film.

"Gertrud" on the other hand, his follow-up film about ten years later, is a miserable piece. It presents the audience with Gertrud, a character I grew to hate more and more with each scene, and then tries to make us pity her and emotionally connect to her pathetic state. Dreyer's direction and choice of pace here seems more lazy than inspired or purposeful. Even the only good part of the film, the lighting, seems interesting just for the sake of being though, rather than for a reason. The long shots are stiff, rigid and lacking in any kind of vigor or energy. The actors could be replaced with stiff wooden boards and I would not notice any change. Nearly every scene takes place with two characters sitting on a coach. Then someone gets up and walks around for no reason. Then they go and sit at the piano. Or at the desk with chairs. Back to the couch. Then they sit on the couch in a ten minute unbroken shot, moving not an inch as Gertrud bitches and moans about her 'love' and whatever bland character lacking man is sitting there at the time fawns over her like she is a goddess. The film begins, lays there like a roadkill for two hours and then ends. It is one of the most utterly pathetic and aggravating experiences I've ever had watching a movie.

I hated the Gertrud character so much, that every moment became painful. Why would Dreyer, a generally fabulous and talented director, choose such a wretched character as his subject?

I have loved several of Dreyer's films, and even a piece like "Vampyr", which I found generally lacking, had redeeming qualities and moments of inspiration. "Gertrud" just lays there and doesn't even attempt to stir emotion, explore the true nature of love or even treat its subjects with respect.

I am a huge advocate of the long shot in film. Most people find the movies I love to be slow and boring. I have long felt that shots need to be longer, or scenes paced with more careful timing, to really explore the subjects and environments shown. But if this is what would be done with lone takes, please count me out. This film is a damn travesty.