Review of Michael (1924) by Carly R — 19 Feb 2008

Hugh Hefner wants to be Benjamin Christensen so bad.

This review of Michael (1924) was written by Carly R on 19 Feb 2008.

Michael has generally received positive reviews.

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More Reviews of Michael

Review of Michael (1924)

By Dennis Schwartz (5,456) for Ozus' World Movie Reviews (5,456) on 26 Jul 2005

As drama, the characters remain too distant to offer the warmth needed for Dreyer to convey that love in its purity conquers all in the end…

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Review of Michael (1924)

By George M (317) on 22 Apr 2012

Wonderful early-period Dreyer film that has something of the great stoicism of his last, Gertrude…

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Review of Michael (1924)

By Ryan T (1,220) on 29 May 2009

A example of the power of silent cinema, and not only that, but early queer media. Dreyer's early talents are demonstrated hereâ…

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Review of Michael (1924)

By Jeffrey M. Anderson (3,573) for Combustible Celluloid (2,644) on 15 Jan 2005

A truly fascinating film with just the tiniest hint of the greatness yet to come…

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Review of Michael (1924)

By Diane K (37) on 25 Jan 2009

An excellent silent film. It started a little slow but it ended up being very touching and very sad as well. The sets were just beautiful…

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Review of Michael (1924)

By Kieron Moore (14) for Starburst (899) on 09 Feb 2018

Michael acts as a powerful reminder of the progressive, artistic sensibilities that made German cinema of the 1920s one of the most fascinating…

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Review of Michael (1924)

By Sarah R (607) on 30 Sep 2007

Freund is the cinematographer, and Dreyer is of course the director, so it looks pretty. But it's a decidedly minor work…

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Review of Michael (1924)

By I Don't Know W (791) on 28 May 2011

Dreyer's silent film that is a well-made but unsurprising take on an artist's love for his model, who eventually betrays his trust…

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Review of Michael (1924)

By James C (2,975) on 20 Oct 2007

Intense chamber piece about a decadent old artist who has his heart broken by his rather feckless model & adopted son…

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Review of Michael (1924)

By Richard Brody (868) for New Yorker (1,403) on 17 Apr 2016

Closeups of burning intensity and opulent tableaux of frozen horror suggest the great director's transcendent theme, of divine grace granted…

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