Tag Archives: The Passion of Joan of Arc

American Movie Critics: H.D. (Hilda Doolittle)

[Ryan McNeil of The Matinee and I are reading through the American Movie Critics anthology and discussing each chapter as we go, crossposting on each of our blogs.]

We’re coming to the end of the silent era, and we cap it off with one of the most tantalizing and intriguing essays we’ve come across so far, about a film that both Ryan and I have seen – Carl Theodor Dreyer’s The Passion of Jeanne d’Arc. Sometimes critics declare films to be masterpieces, and time doesn’t bear them out, or they dismiss films that are later revived as classics. Here we have a fascinating case of a critic (Hilda Doolittle, who was primarily a poet who published under her initials H.D.) who declares Jeanne d’Arc to be a masterpiece, and yet her review is an encapsulation of the emotional turmoil the film put her through, and her simultaneous appreciation of and resistance to the film. Her poetic side comes through in her turns of phrase throughout, but also in her sensibility – she values her troubled subjective experience of the film over a firm judgement of its objective quality. Ryan confessed during our conversation that he read the piece twice; I think I’ve read it four or five times now, partially to refamiliarize myself with it while writing, but also because I find it simply the most amazing thing we’ve read in the anthology so far. I would write criticism like this if I had the talent. As it is, I’m eternally grateful to Phillip Lopate for including it in this anthology so I knew to read it.

RYAN McNEIL:
When we discussed Carl Sandburg, you mentioned the way enthusiasm shone through in his writing. So today we have another poet, and again we’re met with another burst of enthusiasm. Do you think there’s something to be said about artists commenting and critiquing on other art forms? I don’t imagine it would always be as effusive as what Sandburg wrote before or what Hilda Doolittle writes here…but is there perhaps a creative spark that an artist latches on to that a journalist – or even an appreciator of the medium – wouldn’t?

JANDY HARDESTY:
There’s definitely something more expressionistic about both Sandburg’s and H.D.’s pieces in the anthology. I don’t think this piece on The Passion of Jeanne d’Arc is strictly speaking a review in the same sense of the weekly consumer reviews that Sandburg was writing, but they both have a commitment to the subjective, to the experiential, and to a certain turn of phrase that set them apart from many of their more prosaic contemporaries.

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RYAN:
I was also amazed to see her begin her piece by planting such a positive flag in the ground:

The Passion and Death of a Saint is a film that caused me more unrest, more spiritual forebodings, more intellectual rackings, more emotional torment than any I have yet seen. [39]

Now to be fair, Doolittle was being affected by what remains a benchmark in the medium…so we can hardly question how deeply she was affected. However, what caught me about this opening statement is how boldly it comes out swinging in the affirmative. It’s rare that this happens – why is that?

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Favorite Older Films I Saw in 2012

Always an awkward post title, but I can never seem to manage to figure out a good way to sum up the kind of list I’m presenting here. My list of Top 2012 Films is included in the Row Three group post over here, and to be perfectly honest, this list of the pre-2012 films I enjoyed the most this year has already been posted on not only Row Three, but it’s also expanded from a similar list posted at Rupert Pupkin Speaks, where it joined a veritable gold mine of other such lists solicited from various bloggers – they’re all worth looking through, as there’s a ton of variety among what we each managed to catch up with and love last year.

Anyway, I figured I could post it here as well, now that it’s had time to run both the other places for a bit. I should stress that this is hardly an objective list, were such a thing even possible – it’s just what I liked the best and felt most desirous to share out of my first-time watches this year, excluding 2012 releases.

What older films did you love the best in 2012?

GIRL SHY (1924)
FOR HEAVEN’S SAKE (1926)
WHY WORRY (1923)

GirlShy

I’d seen Harold Lloyd’s best-known film Safety Last before, but I really consider 2012 my crash course in his comedy, with a trio of films I saw in close succession and really convinced me for sure that he belongs in the silent comedian pantheon. Girl Shy is, in fact, my favorite new-to-me film I’ve seen all year, and thanks to its sweet romance and breathtaking final chase scene, I actually liked it more than I do Safety Last. For Heaven’s Sake, with Lloyd as a millionaire bringing in street thugs and miscreants to fill up an inner-city mission’s pews to impress the preacher’s lovely daughter, is a ton of fun, too, full of insane gags and stunts. I liked Why Worry, with Lloyd as a hypochondriac who gets mixed up in the Mexican Civil War, the least of the three, but it’s still a solid film and a whole lot of fun. With these three under my belt, chalk me up a definite Lloyd fan.

THE VIRGIN SPRING (1960)

virginspring

Sometimes Ingmar Bergman films are a bit tough for me to get into – I can appreciate their austere humanism, but they often feel remote and uninvolving to me. The Virgin Spring grabbed me immediately and didn’t let me go until I collapsed at the end breathless, like the grieving father in the story. A young girl is violated by a group of men who later unknowingly seek shelter in her father’s home, whereupon he finds out what happened and exacts retribution. But nothing is so simple in Bergman’s world, and this is a deeply thoughtful and starkly beautiful film, questioning a God who allows tragedy to happen and yet also accepting that personal vengeance may not be the best way either.

THE DRIVER (1978)

The-Driver

Clearly a prototype for 2011’s Drive (a recent favorite of mine), The Driver stars Ryan O’Neal as a laconic getaway driver who’s being hunted by an arrogant cop (Bruce Dern) who wants to collar him simply because he’s never been caught. In between them are a gambling woman who may be playing both sides and a bunch of thugs who are no match for the Driver. It’s a mystery to me why this film isn’t always mentioned in the same breath with great car chase movies like Bullitt and The French Connection, because the chases here are every bit as good. Mix in the Le Samourai-esque lead character, and this film was made for me.

SOLARIS (1972)

Solaris

First of all, it took me several days to get through this meditative sci-fi film musing on love and loss. I’m not proud of that, but it can certainly be blamed on my pregnancy-related tiredness at the time rather than the film itself, although the film itself is definitely on the slow side. I actually liked the pacing and though it worked well for the kind of heady, evocative sci-fi this is. That said, because of the viewing conditions, I had difficulty holding it all in my head at once or feeling like I had a solid grasp of it by the end. I’m already looking forward to a rewatch, upon which time I think I will appreciate it even more.

THE PASSION OF JOAN OF ARC (1928)

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Even Top Five placement is probably not high enough for this film, but I’m being honest, and that’s where it is at least on first viewing. The movie is an intriguing combination of austerity (sparse set design) and raw emotion (Marie Falconetti’s extraordinary face, usually seen in close-ups). I’ve seen a couple of other Dreyer films, and I generally find them a bit difficult to relate to stylistically, and I have to say I felt kind of the same tension here. I do think some rewatches will move it much higher on my list, though – it feels like the kind of film I will grow into. Also, the print on HuluPlus does not have a music track with it, and I don’t think that helped my experience.

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Scorecard: July-October 2012

Four months at a whack here, but really, I haven’t been watching all that much, thanks to sleeping almost all of the time and lacking the attention span for more than 30-minute TV shows when I AM awake (see why here). Interestingly, all of my “loved” films this time around are 2012 films. That’s strange and weird to me, especially since I watched a few “unassailable” classics, but I’m being honest about how I felt about them at the time I watched them. Also, there’s a preponderance of new releases anyway since going to the theatre tends to keep me awake and engaged a bit more right now than watching films at home, so I’ve watched fewer films at home than usual.

What I Loved

Cloud Atlas

I’d heard everything from “mind-blowing masterpiece” to “vapid, messy drivel” about this film coming out of TIFF, so I had no idea what to expect when I went into it. As you may have guessed, I’m far closer to the “mind-blowing masterpiece” side of the scale; in fact, as of right now, it’s sitting atop my Top 2012 Films list. I read the book a couple of months ago in preparation, and I’m sure that affected how I received the film – I didn’t actually love the book, largely because I felt like it was more of an exercise in pastiche, more interested in proving David Mitchell’s chops at imitating different styles of writing and less interested in actually making meaningful connections between the different stories. The movie still has the different styles, but less pronounced (because it’s difficult to get such things as “19th century journal” and “epistolary novel” to translate to film stylistically), and the stories are all intercut with each other, a brilliant way to strengthen and highlight the thematic tissue connecting the stories. Putting the music of the Cloud Atlas Sextet front and center lends the film a symphonic quality heightened by the editing to create something that as a whole is greater than the sum of its parts, which is exactly what I was missing from the book. It’s rare to say, even for a non-book-purist like me, but in this case, the movie is easily better than the book – quite a statement especially for a book that many people have long considered unfilmable. Well done.

2012 USA. Directors: Andy & Lana Wachowski & Tom Tykwer. Starring: Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Doona Bae, Jim Sturgess, Ben Whishaw, Keith David, James D’Arcy, Hugh Grant, Susan Sarandon.
Seen October 27 at AMC Burbank 16.

The Master

I came into The Master with some trepidation, since I’m just about the only person on earth who really disliked There Will Be Blood, and I wasn’t sure if PT Anderson could get back on my good side or not. Thankfully, he did, and while I would say I only “really liked” The Master when first leaving the theatre, thinking back on it and talking about it has raised it my estimation a LOT. I might still like Magnolia (see below) a bit better of PTA’s films, but it’s close, and so far The Master is probably the best movie of the year for me. The interplay between Phoenix and Hoffman is incredible – two actors at the top of their game, playing off their very different styles (and very different characters) against each other. Amy Adams holds her own as well, which I didn’t expect. And the jittery camerawork/focus underscores the story – really, the character study – perfectly. Images, lines, contrasts, outbursts, quiet moments – they’ve all come flooding back to me without warning over the weeks since I saw the movie, and that’s what I call a sign of a great film. Great enough I might be willing to give TWBB another chance. We’ll see.

2012 USA. Director: Paul Thomas Anderson. Starring: Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams.
Seen September 15 at Arclight Hollywood.

Argo

With Argo, Ben Affleck cements his career as a director even further, proving that while many of us have lost faith with him as an actor, when he’s behind the camera, he can do little wrong. This time he’s in front of the camera as well, which worried me a little (I didn’t see The Town, which also had him as actor-director), but he comes through in both roles. Taking a side story from the Iran Hostage Crisis of six Americans who managed to escape the embassy and hide out in the Canadian ambassador’s house, Affleck plays an extraction expert whose crazy plan to get them out involves a fake movie for which they will be the fake scouting crew in Tehran. The film’s seemingly unwieldy combination of real-life political thriller (which is highly tense and dramatic) and Hollywood show biz story (which has a good deal of comedy) comes together perfectly, while Affleck and Co’s eye for period ’70s detail puts him right up there with Soderbergh. An old-fashioned thrill ride with a great cast.

2012 USA. Director: Ben Affleck. Starring: Ben Affleck, Bryan Cranston, John Goodman, Alan Arkin, Victor Garber, Tate Donovan, Clea Duvall, Scoot McNairy.
Seen October 13 at AMC Burbank 16.

Looper

This has been my most-anticipated film ever since I first heard about it more than a year ago, thanks to my abiding love for Rian Johnson films (I loved Brick more than The Brothers Bloom, but they’re both really good), Joseph Gordon-Levitt, and time travel. I successfully avoided almost all the marketing for it, so I went in pretty cold, and I’m glad I did. The story is more about Gordon-Levitt’s character development (thanks to the incursion of his future self in the form of Bruce Willis) than time travel itself – in fact, Johnson actually wisely refrains from getting into the nitty-gritty of the time travel, which keeps the focus squarely on the characters, and I liked that. There are a few plot holes if you analyze the time travel too deeply, but I don’t think they ultimately matter in terms of the character-focused story, and the combination of character drama and action flick with just a touch of sci-fi works really well.

2012 USA. Director: Rian Johnson. Starring: Joseph Gordon-Levitt, Bruce Willis, Emily Blunt, Jeff Daniels, Paul Dano, Piper Perabo.
Seen September 29 at AMC Burbank.

Premium Rush

Bike messenger Joseph Gordon-Levitt rides his bike around NYC at breakneck speeds, trying to deliver a life-or-death package, avoid the dirty cop trying to catch him, the real bicycle cop he pissed off, and fight a rival bike messenger for the affections of his girlfriend. And it’s pretty much non-stop adrenaline from start to finish. That’s about all you need to know. This is an old-fashioned B-level genre movie, and it hits every note right. Sure, it’s got nothing deep going on, but it doesn’t try to be any more than it is and for 85 minutes of pure fun, this kind of thing is hard to beat for me. And Michael Shannon is awesome in this kind of no-holds-barred role (he’s always awesome, but he’s all kinds of fun when he really lets loose).

2012 USA. Director: David Koepp. Starring: Joseph Gordon-Levitt, Michael Shannon, Dania Ramirez, Sean Kennedy.
Seen August 8 at AMC Burbank.

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Film on TV: March 29-April 4

passion-de-jeanne-darc-falconetti.jpg
The Passion of Joan of Arc, playing late Sunday/early Monday on TCM.

Check out a little Marx Brothers marathon on TCM Monday night, from early work like Monkey Business at 8pm to the best of the best starting with Duck Soup at 10:45pm. And the last night of the Kurosawa celebration hits on Tuesday, with some of his later work. A few newly featured ones on TCM, but other than Dreyer’s silent The Passion of Joan of Arc next Sunday, which I’m actually looking forward to seeing for the first time, I’ll let you find those below on your own. Beyond that, there’s numerous worthwhile repeats (including some contemporary greats like Before Sunrise and The Station Agent on IFC) to make sure you haven’t missed on all channels.

Monday, March 29

9:45am – IFC – Before Sunrise
Before Sunrise may be little more than an extended conversation between two people (Ethan Hawke and Julie Delpy) who meet on a train in Europe and decide to spend all night talking and walking the streets of Vienna, I fell in love with it at first sight. Linklater has a way of making movies where nothing happens seem vibrant and fascinating, and call me a romantic if you wish, but this is my favorite of everything he’s done.
1995 USA. Director: Richard Linklater. Starring: Ethan Hawke, Julie Delpy.
Must See
(repeats at 3:30pm)

11:30am – IFC – Crimes and Misdemeanors
When Martin Landau’s long-time mistress threatens to expose their affair unless he marries her, he’s faced with the decision to let her ruin his life and career or have her murdered. In a tangentially and thematically-related story, Woody Allen is a documentary filmmaker forced into making a profile of a successful TV producer rather than the socially-conscious films he wants to make. One of Allen’s most thoughtful and philosophically astute films – there are few answers here, but the questions will stay in your mind forever.
1989 USA. Director: Woody Allen. Starring: Woody Allen, Alan Alda, Martin Landau, Anjelica Huston, Claire Bloom, Joanna Gleason.
Must See
(repeats at 5:15pm)

9:30pm – TCM – Horse Feathers
Most film comedians do a college-set film at some point, and this is the Marx Brothers entry into higher education. This is a relatively early film for them, and it’s not quite as great as the Duck SoupA Night at the OperaA Day at the Races trifecta, but it’s still really solid, one of my favorites of their pre-1933 films.
1932 USA. Director: Norman Z. McLeod. Starring: The Marx Brothers, Thelma Todd, David Landau.
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10:45pm – TCM – Duck Soup
Leo McCarey directs the Marx Brothers in what many think is their best and zaniest film. This is the one with Groucho becoming the dictator of Freedonia and declaring war on nearby Sylvania. Frequent Marx Brothers foil Margaret Dumont is on board as the wealthy woman who causes the rivalry that leads to the war. Personally, I prefer A Night at the Opera to Duck Soup, but this may be your best bet if the idea of musical interludes from Allan Jones (of which Opera has several) turns you off.
1933 USA. Director: Leo McCarey. Starring: The Marx Brothers, Margaret Dumont, Louis Calhern, Leonid Kinskey.
Must See

12:00M – TCM – A Night at the Opera
One of the best of the Marx Brothers’ zany comedies finds them running awry through the world of opera. This is the one that contains the famous “how much stuff can we stuff into a stateroom” scene. And a subplot with Allan Jones and Kitty Carlisle, but that’s best ignored as much as possible.
1935 USA. Director: Sam Wood. Starring: The Marx Brothers, Allan Jones, Kitty Carlisle, Margaret Dumont.
Must See

12:00M – IFC – The Cooler
William H. Macy plays a loser whose bad luck gets him a job as a “cooler” at a casino – his luck spreads and cools off any hot winning streaks that might be going on. But when he starts a relationship with Maria Bello, his new-found love and acceptance turns his luck. This film reinforced my knowledge of Bill Macy’s talent, made me take notice of Maria Bello, and gave Alec Baldwin pretty much his best role until 30 Rock.
2003 USA. Director: Wayne Cramer. Starring: William H. Macy, Mario Bello, Alec Baldwin.

2:00am (30th) – TCM – A Day at the Races
The Marx Brothers take over the racetrack in what is probably the last of their really great comedies. As with A Night at the Opera you do have to put up with the silly romantic subplot, but it’s not too big a strain.
1937 USA. Director: Sam Wood. Starring: The Marx Brothers, Allan Jones, Maureen O’Sullivan, Margaret Dumont.
Must See

Tuesday, March 30

9:15am – IFC – The Station Agent
One of the most pleasant surprises (for me, anyway) of 2003. Peter Dinklage moves into a train depot to indulge his love for trains and stay away from people, only to find himself befriended by a loquacious Cuban hot-dog stand keeper and an emotionally delicate Patricia Clarkson. A quiet but richly rewarding film.
2003 USA. Director: Thomas McCarthy. Starring: Peter Dinklage, Patricia Clarkson, Bobby Cannavale.
(repeats at 2:30pm)

4:00pm – TCM – The Blue Gardenia
This may be a lesser Fritz Lang noir, but a Lang noir is still a Lang noir. Anne Baxter is a mousy telephone operator who has an uncharacteristic night out drinking with a near-stranger; the next day she wakens with little memory of the night, but the stranger is dead. That setup leads to police investigation, and her own questioning whether or not she is a murderer. Baxter’s an underrated talent, I think, and even though this film has its flaws, it’s still quite enjoyable in its way.
1953 USA. Director: Fritz Lang. Starring: Anne Baxter, Richard Conte, Anne Sothern, Raymond Burr.
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8:00pm – TCM – Kurosawa Centennial Marathon
TCM is rounding out its month celebrating Akira Kurosawa with three of his later films – all three of which Row Three contributors reviewed as part of the Row Three Kurosawa celebration. So check out the films and check out our reviews, if you haven’t already.
8:00pm – Dersu Uzala (Kurt’s review)
10:30pm – Kagemusha (Matt Brown’s review)
1:45am (31st) – Ran (Bob’s review)

12:00M – IFC – Evil Dead 2
The sequel/remake to Sam Raimi’s wonderfully over-the-top demon book film, set in the same creepy wood-bound cabin, with even more copious amounts of blood and a lot more intentional humor. I’m still not sure which I like best, but either one will do when you need some good schlock. (I still haven’t seen Army of Darkness, I’m shamed to admit.
1987 USA. Director: Sam Raimi. Starring: Bruce Campbell, Sarah Berry, Dan Hicks.

Wednesday, March 31

11:30pm – TCM – The Major and the Minor
A rather slight and sometimes shrill comedy that still has its moments, notable for being Billy Wilder’s first Hollywood film as a director (he also wrote it, of course, with Charles Brackett). Ginger Rogers plays a young woman who pretends to be a twelve-year-old child to get half-fare on a train; in so doing, she catches the attention of a soldier who takes her under his wing, thinking she’s actually twelve. Events snowball from there. I have a soft spot for this film, personally, and especially for Diana Lynn as the sarcastic and much-wiser-than-her-years kid who becomes Rogers’ confidant.
1942 USA. Director: Billy Wilder. Starring: Ginger Rogers, Ray Milland, Rita Johnson, Robert Benchley, Diana Lynn.
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Thursday, April 1

8:00pm – TCM – Adam’s Rib
Spencer Tracy and Katharine Hepburn take on the battle of the sexes as married lawyers on opposite sides of an assault case involving gender politics. It’s a great movie in dialogue and acting, and still interesting for the 1949 view of women struggling for even basic equality. Some of its approach to gender may be a bit strange today, but…that’s why it’s interesting.
1949 USA. Director: George Cukor. Starring: Spencer Tracy, Katharine Hepburn, Judy Holliday, Tom Ewell, Jean Hagen, Gig Young

10:00pm – TCM – Mr. Smith Goes to Washington
Frank Capra puts on his idealist hat to tell the story of Jefferson Smith (James Stewart), an inexperienced young man appointed as a junior senator because the corrupt senior senator thinks he’ll be easy to control. But Smith doesn’t toe the party line, instead launching a filibuster for what he believes in. Wonderful comedienne Jean Arthur is the journalist who initially encourages Smith so she can get a great story from his seemingly inevitable downfall, but soon joins his cause.
1939 USA. Director: Frank Capra. Starring: James Stewart, Jean Arthur, Claude Rains, Eugene Pallette, Thomas Mitchell.
Must See

12:15am (2nd) – TCM – Breakfast at Tiffany’s
Audrey Hepburn’s signature role in a career full of memorable films, as party girl Holly Golightly, trying to make her way in mod New York City. Breakfast at Tiffany’s for me encapsulates 1960s style probably more than any other film, and with a grace and warmth that never grows old.
1961 USA. Director: Blake Edwards. Starring: Audrey Hepburn, George Peppard, Patricia Neal, Mickey Rooney.
Must See

2:15am (2nd) – TCM – To Have and Have Not
It’s said that this film came about because Howard Hawks bet Earnest Hemingway that he (Hawks) could make a good film out of Hemingway’s worst book. Of course, to do that, Hawks ended up basically changing the story entirely, but hey. It’s the thought that counts. Mostly notable for being Lauren Bacall’s first film, the one where she met Humphrey Bogart, and the one that spawned the immortal “you know how to whistle, don’t you, Steve” bit of dialogue. That one scene? Worth the whole film.
1944 USA. Director: Howard Hawks. Starring: Humphrey Bogart, Lauren Bacall, Walter Brennan.

Friday, April 2

6:00am – TCM – Broadway Melody of 1936
MGM made four films under the Broadway Melody title (in 1929, 1935, 1936 and 1940), and this is easily the best – a polished, sparkling show biz tale with the production detail you expect from 1930s MGM. Eleanor Powell can dance up a storm no matter what film she’s in, and this is one of the few she did, honestly, that has any interest outside of her tap numbers.
1935 USA. Director: Roy Del Ruth. Starring: Jack Benny, Eleanor Powell, Robert Taylor, Una Merkel.
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Saturday, April 3

9:00am – IFC – Hero
Jet Li is the titular hero in this Zhang Yimou film, arguably the best of Yimou’s period action-on-wires films (though I’m partial to House of Flying Daggers myself). The story unfolds in flashback as Li explains to a warlord how he eliminated three would-be assassins (who happen to be three of Hong Kong cinema’s biggest stars, incidentally) – but all may not be precisely how it seems.
2002 China. Director: Zhang Yimou. Starring: Jet Li, Zhang Ziyi, Tony Leung, Maggie Cheung.
(repeats at 3:30pm)

9:00am – TCM – Red Dust
You want some pre-Code action? We got your pre-Code action right here! Clark Gable and Jean Harlow made several films together, and Red Dust is one of the most entertaining, in no small part because its story of a love triangle on a South Seas rubber plantation gives them plenty of opportunity to push the sensuality envelope. It was remade as Mogambo in 1953 with Gable and Ava Gardner, but that version isn’t nearly as, um, interesting as this one.
1932 USA. Director: Victor Fleming. Starring: Clark Gable, Jean Harlow, Gene Raymond, Mary Astor, Donald Crisp.
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8:00pm – TCM – Bonnie & Clyde
This is a perfect film. If you have not seen it, see it. If you have seen it, see it again. In either case, rather than write again how much I love it, I will just refer you here.
1967 USA. Director: Arthur Penn. Starring: Warren Beatty, Faye Dunaway, Gene Hackman, Estelle Parsons.
Must See

Sunday, April 4

10:00am – TCM – Easter Parade
Fred Astaire actually retired in 1946, and managed to stay off the screen for two years – until Gene Kelly broke his leg playing football and Fred was asked to take over his role in Easter Parade. Of course, then Fred kept making movies nearly every year for another 15 or 20 years. Easter Parade remains an enjoyable entry into his and Judy Garland’s respective filmographies, due to solid Irving Berlin tunes and the winning combination of Astaire’s dancing and Garland’s singing (and comedic abilities). Oh, this was also tap star Ann Miller’s first of many MGM films.
1948 USA. Director: Charles Walters. Starring: Fred Astaire, Judy Garland, Peter Lawford, Ann Miller.
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1:45am (5th) – The Passion of Joan of Arc
It pains me to reveal this. I have not yet seen Dreyer’s classic silent version of Joan of Arc with Maria Falconetti’s legendary performance as Joan. The time will come. I believe pretty much every other Row Three-er has seen it, so they can talk it up in the comments should they so desire. From everything I’ve heard, it’s not to be missed given the opportunity to see it, and here is the opportunity.
1928 Denmark. Director: Carl Theodor Dreyer. Starring: Maria Falconetti, Eugene Silvain, André Berley.
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