Gertrud

Carl Theodor Dreyer marked his place forever in the film canon for his terrific masterpiece The Passion of Joan of Arc. Back in film's most primitive stages, he managed to lift it out from its limitations and give us one of the greatest performances of all-time from Maria Falconetti. 36 years later with his final film, he again studies a single woman in an intimate minimal style. It tackles a complex issue, one of universal sensitivity, with the expectations of love. There's great subdued performances of characters who can hardly bear to look at each other. Based on a play built on a handful of sequences, it ends up inherently stage-like with its 3 walls and dialogue-driven narrative. While it may struggle with pacing with a few too many scenes that don't drive the story forward, its rich backstory is compelling and plays with the imagination. In that limitation, Dreyer makes elegant use of camera movements with long takes that are constantly changing frame size, it's really magnificent to watch. What makes the film hit hard is its sudden epilogue. The majority of the film takes place over a few days and we suddenly jump 30 years into the future to study the consequences. It's a profound, if incredibly dreary film. Many lessons to take from Gertrud, both in filmmaking and in life.

8/10

This is stunning work in my estimation but difficult. You will have to work and earn this movie for yourself, deserve it. Enter before you're ready and all you'll see is an empty room. Enter when you have come some way in your travels and you'll see there was not a single thing missing.

Modern and staid at the same time, Dreyer straddles both eras, someone who began in the silent era but paved the way for modernity. His Joan of Arc was a woman's passion rending the air around her, soul heaving from a body. Vampyr was dreamlike and floated. His next works quieted the passion, dimmed the seeing. Until we come to this, his very last one.

Even more deeply moored in characters, even more placid, even more renouncing of drama. If you simply try to see this as a drama (the way Wrath and Ordet can be seen), you may find the pace stolid, the same lugubrious articulation of feelings tiresome; you might note Gertrud's complete certainty in how she feels and being mildly tired to not find it as complacent.

But like Ordet is not a pastor's work, this is not merely a dramatist's, I don't think. It's true, his subjects give off a musty scent, are set in bygone days, but that's with the exception of this one, which is his most modern. So give it space, and it will begin to shine beyond simply these lives that we see.

Anchored in a woman and the men in her life as they come together for the occasion and part again, the occasion is that she decides to leave her husband for someone else, this is a prolonged contemplation of life gone. It's not just what these people explain about how they feel but these ruminations being deepened and sculpted in time, how they intersect; these translucent openings to rooms that I find myself in, the gentle dissonance between sense and discovery, the camera coming to and going again.

It's all that marvelous sense of inhabiting that room where feelings linger and take shape; for example the flashback to where she visits him in his house and he plays the piano, we don't seem him at first, only the room resplendent in radiant light as if her own soul lights it up and then fills it with song. Later, after she has lied about going to the opera and visits him again, the same room is now submerged in shadows, their hushed love affair far from the eyes of the world.

Two sides of Dreyer show through. Characters pouring out their inmosts gave rise to Bergman where it's the spoken word being sculpted; but even greater, the camera that waits and comes to, the way it stays time, shuffles and reveals, this is what Tarkovsky would extend in his own work. If the next step has been taken, and I think that's in a film with the magnitude of Zerkalo, the blueprint is here.

We glide through all of this stoically, as if it was always apparent that life wouldn't work out as dreamed so it's no real surprise. The husband frets and fights to keep her, later the poet ex-boyfriend pours his heart to her about the mistake of letting of her go; but the husband knows no words can change how someone feels, the other knows that her love grew to be a burden and he preferred his freedom. It's moot to fret now, those are words said to mark the occasion. The pianist turns out to be a boy, she accepts it.

It's all crystallized in the end, with her an old woman and being visited by the man she moved out to join in Paris. Maybe they would have liked to pursue what they didn't, maybe not. Nothing weighs between them. We have moved ahead as freely as we look back.

Everything here is a placeholder for life that you have gone through, maybe let slip through the fingers but neither glad nor saddened. It was what it was all about, life as a series of nights you shared, talks you had, visits to someone's room. Dreyer has prepared, purified, light that suffuses the memory, mends it back into body. The mind doesn't stray anymore, even as it does. It strays without losing its bearings, without giving into anxiety or despair. Dreyer's gaze is Gertrud's soul.

Even by Dreyer's standards "Gertrud" displays a rigidity rare in cinema. When it first appeared critics hated it, (just as they hated "The Searchers" and "Vertigo"). Now, of course, all three films are considered masterpieces but while "Vertigo" and "The Searchers" were commercial films aimed at a mass audience, "Gertrud" was strictly art-house, the kind of film critics were expected to like. It was also Dreyer's last film and it was archetypal Dreyer but this was also the mid-sixties and movies had moved on. We had had a renaissance in France and Italy and Czechoslovakia and even in the UK while America's 'New Wave' was just about to strike. It was a time for young film-makers and Dreyer was an old man. "Gertrud" looked and felt like it could have been made 30 years earlier. Of course, hindsight is a great thing and today "Gertrud" seems more 'modern' than many of the fashionable 'flash-in-the-pan' movies that hit us in the sixties and which now seem like time-capsules from a by-gone age. "Gertrud's" almost somnambulist pace and Dreyer's insistence on long takes, keeping his actors mostly static while allowing his camera to move, however slowly and deliberately, instead now seems almost revolutionary at a time when movies were chiefly about movement and movement in a pell-mell style. While taken from a 1906 play the theme of the film also seems peculiarly modern for the mid-sixties. It's about a woman's liberation from the constraints that men would seek to put upon her, even if that freedom means the sacrifice of romantic love in favour of higher, more intellectual pursuits. At the beginning of the film Gertrud leaves her stuffed-shirt of a husband because he's not prepared to love her unconditionally and attaches herself to a younger man who showers with romantic affection. But his love, too, is a sham and Gertrud is just another of his many conquests, so Gertrud leaves both men, and the poet she truly loved but who put his work above her and has now returned to reclaim her, and settles instead for a solitary but more 'intellectually' satisfying existence. It is a cold movie, it moves at a snail's pace and it is a film of ideas almost devoid of emotion if not feeling, (there is so little happening on screen it often seems like it could just as easily have been done on the radio). The acting is either intensely wooden or deeply cerebral depending on your point of view and since the characters are really only paradigms it is very difficult to engage with any of them. But it is also an incredibly beautiful film, displaying all of Dreyer's visual mastery, (as a 'stylist' Dreyer has always seemed very under-valued), and it's a film that challenges our preconceptions of what a romantic melodrama should be. Even by European art-house standards this is a much more rigorous dissection of the relations between men and women than we are used to. It won't be to everyone's taste but stick with it and you will be richly rewarded with a difficult and a bold film that strives to be a serious work of art and more than succeeds in its aims.

You might be dismayed the first time you view Gertrud. Is this a masterpiece you might ask yourself? Nothing seems to happen. People sit and talk. Sometimes they get up and move about and then go and sit down again. When they do talk, it is not always facing one another. Gertrud herself often appears to be in a trance, staring towards another world, a beyond of perfection where no mortal man can exist or match up to her dreams. By the end of the film she seems to have become as bloodless and lifeless as a statue. Whiteness has overcome her and it is as lethal as the powder in the mill of Dreyer's Vampyr.

This is a film that must be watched several times in order for all its qualities to be revealed. The characters movements are exactly choreographed. The decor is stripped down to its essentials. There is nothing in the frame that does not comment. It might appear on the surface to be a naturalistic film, but it is, in fact, as staged and controlled as any Fellini. Gertrud is about the martyrdom of a woman who seeks perfection in a flawed world. Its surface, is as still, and tranquil, as a lake in a park, but underneath, everything is turmoil and volcanic emotion

Cinema Great Carl Dreyer's final film is said to be his masterpiece as well. The innovative b&w cinematography, featuring only a handful, drawn out scenes in confined spaces, makes use of mirrors, shadows and suggested action. The story begins ca. 1900, studying several characters in depth. Gertrud, the wife of a wealthy lawyer with political aspirations, feels unappreciated by her work-consumed husband. The viewer quickly learns that Gertrud is about to end what appeared to be years of boredom as the "attache" of a man who lives mainly for his secular accomplishments. Despite his protests and assurances that he couldn't live without her, she leaves to see a lover.

Drawn to men of the arts, Gertrud herself was once a celebrated opera singer. A lengthy love affair with a man who later becomes a nationally honored poet, left the jilted author heart broken. Another man, a pioneer in the field of psychiatry, becomes Gertrud's friend and confidante, but never a lover.

The story, via flashbacks, present action and time scan forward shows Gertrud's entire adult life. The final scene offers somewhat of an explanation for why this woman has seemingly denied herself any true happiness. The men who offered her everything, even with the greatest possible concessions on their part, were told not to bother. Gertrud's extreme sense of pride, as noticed by a young musical genius who sees her as a convenient fling, leaves no wavering of the determined mind.

If this film appeared to be scandalous in 1964, how would society view this kind of real activity in the early 1900s? A strong sense of "truth", as a philosopher may call it, will always override any kind of compromise. "Love is all", the only words on Gertrud's head stone. There must be more to life than strict adherence to an ideology, especially at the high cost. A critically acclaimed film, "Gertrud" nonetheless lacks entertainment value due to its fatalistic story telling