Dias de Ira

Although I'm certainly not religious myself, I do find the subject of religion to be fascinating, yet whenever I see a film about religion, especially old black and white subtitled ones, it tends to be a very torrid viewing for me. This was certainly the case with Ingmar Bergman's 'Winter Light', but not the case with this film; which is actually very good. I went into it with the wrong expectations because my television guide had touted it as a film about witch hunt; which although they feature in the film, that's not what it's about. The film is about loss of faith, and having to choose between what you believe and the people you love. We follow a pastor who has indicted a woman for witchcraft and later has her burnt at the stake. Around the same time, his son has returned and he has inadvertently fallen in love with his father's wife, a woman who is his junior. Much like his earlier 'Passion of the Joan of Ark', Danish genius Carl Theodor Dreyer has created a film rich with religious tones that includes themes of witchcraft and the power of belief. The lighting and way that the atmosphere is built in the film is superb, and it's obvious that a master technician made the film. However, much like Passion of Joan of Ark, and his 1932 film, Vampyr, this film also comes across as being cold - which can make it difficult to like if, like me, you value the story and characters over technical prowess and potent themes. Day of Wrath is certainly not a film for everyone, and people that dislike thought provoking, yet completely style-less pieces of art should steer clear. For everyone else, however, this is most definitely worth a watch.

Day of Wrath has got to be one of the best movies ever made. It's beautiful to look at, great intriguing witch-hunting story, the filmmaking is impeccable, and it's just plain awesome. It's too bad that not many people know about this little diamond.

I Fancy there'd be a good reason to feel a bit irked during most of the days of the 17th century, especially if you were a bonny lass with a celibate husband twice your age, a hag of a mother-in-law and you fancied your stepson something rotten. A bewitching film leaves us grateful we are alive today and thankful for our libertarian ways, with the director catching the essence of life's frustrations, misunderstandings and heinous cruelties during those times to perfection.

Dreyer's feature from the 40's (he roughly made one in each of the last four decades of his life) is another example of his unique talent. Day of Wrath is less whitish than other of his films, but the director's trademark lighting is at it best here. The film has elements in common with The Passion f Joan D'Arc, dealing with a powerful leading female and matters of Grace, witchcraft and Puritanism.

Dreyer masters a somehow theatrical plot with pure mise-en-scéne, using constant intercutting between indoor and outdoor spaces. The oppression of the family house, determined by heavy shadows and a mummified environment, is superbly embodied by his actors, all of them complex and full of grey zones, people that hide the most of their performances, and whose deliveries are effective and economic thanks to Dreyer's direction. He seems to direct their eyes only, the barren faces around them becoming a sort of empty canvas. The family and the world surrounding it invoke questions of transcendence that their own fails and temporality contradicts. That temporality is portrayed by an ever-present tick tack of a wall clock. Anne's fall occurs not because of his sin, rather because of her submission to the transcendence of love that seems to be impossible in such a universe, where the possibility of a passion leads inevitably to a Passion, in strictly religious terms.

As in other Dreyer's films, simple actions become memorable moments through the director's portrait and comment of them, like when the young son drinks from Anne's hands like a docile dog or the lovers' kissing behind the grass. A fantastic personal film from one of the most remarkable and coherent filmmakers of all time.

Dreyer's pictures are absolutely mind-boggling .We seem to be in a Rembrandt's or Georges de la Tour's painting.He works with his camera the way a painter does with light to create different textures ,highlights and shadows.The scenes inside the minister's house where the world is still the prey of the good/evil concept are in direct contrast to those ,luminous and pastoral,where the lovers try to reinvent life:some kind of Garden of Eden,which the apple tree on the picture has promised.

Anne's passion was doomed from the start:her situation recalls that of Phaedra:both are pure even in sin,both are victims of an implacable heredity.Even before Martin's appearance ,the over-possessive mother leaves her no chance at all.

Remarkable sequences: the old woman's "trial",her tortures,her screams (I'm not afraid of Heaven or Hell ,I'm afraid to die!" Her death at the stake ,with Ann looking through the window pane ,and realizing it's an omen.The children singing terrifying canticles about God's wrath.

The minister beginning to wonder if his faith is strong enough and the wife's infamous revelation.

The nature which was a refuge, the only sunlight the lovers could get,becomes misty ,almost dark,as the young man has lost all his hopes and illusions."No,Ann says ,it all begins" It's the seventeenth century and Ann is too ahead of her time.She and the old woman are the real human beings in the movie:the minister and his sinister mother are already dead when the film begins as much as the dying man he comforts in his last hour .Martin has got himself tangled up in remorse,superstitions (You've got a magic power) and if life means rebellion and fight ,his surrender leaves him a living dead.

The old woman ,the "witch" ,is afraid to die,which is human:Jeanne D'Arc herself,another "witch" which inspired CT Dreyer had her moments of doubt and fear,and she abjured to save her life .

"Vredens Dag" can still grab today's audience.This is a must.