Ordet. La palabra

Well, I grew up in a religious home, and I was religious until around 22. I've been an atheist since then, and I had a very hard struggle to leave the religious world. I generally have very little patience with people who really believe in God and other such nonsense and fairy tales. But this film left me breathless, and I don't know why. Interestingly enough, when I heard all the quotes that Windfoot mentions, I wasn't very impressed with them, because they are all basically platitudes, trite expressions and homilies that every kid learns to parrot, religious or not. I felt that all those commonplace ideas like goodness, and kindness, and ethics are ordinary human values, which even a person who is not religious believes. But miracles, revelation, and such are, of course, completely different. The ending of the film was so affecting to me. Partly I think it is because the direction and stylization of the miracle is so honest and unencumbered by the juvenile and silly "special effects" that we have come to expect so often. The way that Dreyer presents the lives of these people--simple, honest, genuine, is so different from most everything we see today. True--there was primitive inhumanity displayed, in the refusal of both fathers to agree to a genuine love match between their children. This was very upsetting. All I could think was--"What would Jesus Christ have said to these two old unfeeling men, who were refusing to allow their children to marry--in the name of a religion based supposedly on love??" Only after Inger dies do they both realize how important love is, in a world callous and unfeeling. The film could conceivably have ended at that point, and it would have been a beautiful, albeit somewhat hackneyed story. Don't forget that the point of the miracle is to illustrate what Johannes (John) claims: That everyone there claims they are religious, but they don't really believe. If they would, they could bring Inger back to life. I am rambling....I really do not understand why this film had such an impact on me. I think it took courage for a filmmaker to go the way he did. Everyone, I suspect, would be tempted to laugh at the ending. I honestly don't know why I didn't. Maybe because it was presented so honestly, without all the trappings of wealth and power that accompany most religious culture, whether Jewish or Christian. But I do think that the film must have a very different meaning for someone who is really religious, believes in God, from the one it had for me. I'm still thinking about what it meant for me, and trying to figure it out. I just saw the film for the first time (Thank you, TCM). More comments maybe later.

What is a miracle? A fantastic event created by a supernatural entity? The hallucination of a person with a strong belief? or simply an inexplicable wonder? This absolutely wonderful movie speaks about that from the complicated side of contemplation. After watching it everything is possible, every answer, every reason, every justification. The facts, are related with an enviable sense of modesty. Even a stauncher atheist would find miraculous this Dreyer's masterpiece. Obviously, the development of the story line is slow, determined and thoughtful. This movie requires full attention, full involvement from the audience who will give the answers: don't wait for them in this perfect example of cinema beyond our daily human way of life. By the way, this is not a religious movie as many people think.

Subtly suspenseful. Thought-provoking. Unpredictable--there's nothing cliché about this film. The long, single shot scenes are a very refreshing change of pace and help build intrigue. I loved it! I confess I had never even heard of this film until tonight while watching it on TCM. What a gem! Although it seems to get off to a slow start, it gains momentum. You find yourself intrigued by each family member's personal dilemma. Surprisingly, nothing turns out the way you expect it to! It's like that favorite good book you can't put down. On a sour note, I was very disturbed by a scene when the town doctor is called to the farm to aid Inger's midwife during childbirth. I'd like to do some research and learn if the director was true to the medical practices of the time.

Others have reviewed this picture in a more scholarly and contextual manner than I can, so I will only endeavor to add the following:

I have a particular interest in the nature of faith, and undertook to view Ordet as something "good for me," but probably arduous. Wrong! I also grew up in an area heavily populated by Scandinavians, and knew immigrants who were contemporaries of the oldest characters in the picture.

Ordet, set in 1925, is a dead-on take of old-school Scandinavian culture, suffused with both the most intense dramatic elements imaginable and moments of comic relief as well. The action moves right along without help of special effects or a distracting musical score.

This picture at least alludes to the seldom-asked question, "Why do people believe?" Is it merely for the rewards of faithfulness, or something more?

The final scene, utterly devoid of effects or music, has a dramatic power unexcelled in the ensuing 47 years of cinema to date. It is very long, but uses its duration in service of the tension of the story. Nobody is yelling, fighting or firing weapons, despite the fact they are enduring emotional torment that is as painful as it gets.

In an oblique way, the scene reminded me of the part of Jim Jarmusch's "Down By Law" where Tom Waits and Co. are sitting in the clink in real time, and time passes glacially in one very long scene, illustrating the sheer boredom of incarcerated life. Here real time is used to illustrate the unrelenting nature of grief. In both cases we see what happens long after the scene would have changed in nearly any other picture. The pace conforms plausibly with real life, and in so doing serves the dramatic tension.

One negative review alludes to the final shot and the expression in a character's eyes. I would defend that as an insight that no blessing is unmixed.

As others have noted, one needn't hold a Christian point of view to enjoy this film and be given much to ponder. See it.

Before watching 'Ordet' I was not familiar with Carl Theodore Dreyer's sound films. Having previously watched his beautiful 'La Passion de Jeanne D'Arc', I knew what kind of motifs and themes were going to be prevalent - the strong female character and the emphasis on religion. However as soon as 'Ordet' started and until its conclusion, I was mesmerised and it personally hit me much more effectively than 'Passion'. What has been called by many as Dreyer's masterpiece is also my definition of a perfect piece of cinema. The relatively slow pace of the narrative and the lack of much of Kaj Munk's original dialogue may put some off, but if anything it enhances not only the emotive performances, but also the sense of uneasiness; of lost faith and of lost loved ones. In theory, the ending of this film shouldn't work, but it somehow manages to pull off the surprising and still be effective. By the conclusion of 'Ordet' you can believe that miracles can happen. Dreyer enables us to witness a miracle using a display of his faith combined with his stunning Mise en scène. I may not be sure about God, but this film made you think about the possibilities without preaching any kind of sentimentality and that in my opinion warrants a 10 rating. Essential viewing!