15 years after The Passion of Joan of Arc, Dreyer returns to the concept of burning women at the stake in Day of Wrath, a talky, a talky but still awash with a silent cinema atmosphere, stark sets, expressionistic lighting, and faces and body language often telling more than the dialog. In Dreyer's world, God and the Devil are real forces, whether active entities, or merely symbols for virtue and sin, is something left ambiguous (and yet). The film opens and closes on verses from Revelations, but shows a more intimate Apocalypse, epic passages writ on the personal, individual level. In the wake of a witch being burned, the preacher's all-too-young wife falls in love with her husband's more vital son who has just returned home. So sin is definitely at play, but is she necessarily communing with the Evil One? Therein lies the suspense - fear of discovery, of accusation founded or unfounded, in a world where women especially can be murdered by a pointing finger - that makes the film so riveting despite being really rather quiet and introspective. If the staging sometimes feels old-fashioned, Dreyer captures subtle performances that demand examination. It's required if one is to make sense of so complex a study of the relationship between sin and guilt, which I think is at the heart of the matter - guilt defining what is virtuous or sinful.
I've just seen the 97 minute version on BFI player then realised it's listed on IMDb as being 110 minutes long. I haven't found any information on the different versions or what is missing from the 97 minute version. Any ideas?
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Comments 1 - 8 of 8
Dieguito
Dark Masterpiece! Incredible cinematography!Siskoid
15 years after The Passion of Joan of Arc, Dreyer returns to the concept of burning women at the stake in Day of Wrath, a talky, a talky but still awash with a silent cinema atmosphere, stark sets, expressionistic lighting, and faces and body language often telling more than the dialog. In Dreyer's world, God and the Devil are real forces, whether active entities, or merely symbols for virtue and sin, is something left ambiguous (and yet). The film opens and closes on verses from Revelations, but shows a more intimate Apocalypse, epic passages writ on the personal, individual level. In the wake of a witch being burned, the preacher's all-too-young wife falls in love with her husband's more vital son who has just returned home. So sin is definitely at play, but is she necessarily communing with the Evil One? Therein lies the suspense - fear of discovery, of accusation founded or unfounded, in a world where women especially can be murdered by a pointing finger - that makes the film so riveting despite being really rather quiet and introspective. If the staging sometimes feels old-fashioned, Dreyer captures subtle performances that demand examination. It's required if one is to make sense of so complex a study of the relationship between sin and guilt, which I think is at the heart of the matter - guilt defining what is virtuous or sinful.ClassicLady
Dark, gloomy, and slow moving in places. But beautifully photographed and an excellent work of art.Ivan0716
Reminds me of Bergman's Winter LightDan Bull
I've just seen the 97 minute version on BFI player then realised it's listed on IMDb as being 110 minutes long. I haven't found any information on the different versions or what is missing from the 97 minute version. Any ideas?samoan
Really good film, but not a horror film. Not sure why it is on They Shoot Zombies don't much less so high, but well worth watching.brendo333
W. C. Fields did a great job playing the mother.Jumping Elephant
A psychological lesson in incest, betrayal, and self-fulfilling prophecies.