This version of Hans Wiers-Jenssens play, itself inspired by the burning of alleged witch Anne Pedersdotter in 1590, was released during the blackest period of the Nazi occupation of Denmark. Whether its director Carl Theodor Dreyer intended it as an allegory for Nazi oppression is debatable but fearing that it might be interpreted as such, he thought it wise to take refuge in Sweden. What we have here is in fact a scathing indictment of tyrannical Religion and the horrors perpetrated in its name in which devout choirboys sing 'Glory to God' whilst witnessing a harmless old woman being burnt alive.
This monumental piece has been dismissed by some as slow and ponderous but this viewer would prefer to describe its pace as 'measured'. As one would expect from this director it has atmospheric intensity, pictorial beauty and performances that are strong but restrained and in keeping with its subject matter is pervaded by a sense of doom and spiritual anguish.
Dreyer's masterful use of light and dark are never more apparent than in the contrast between the scenes of nature and the gloomy interiors whilst the clever use of light enables the character of Anne to be by turns innocent and sinister, angelic and demonic. This is most striking in the scene where she tells her aged husband that she wishes him dead which never fails to send a shiver. His guilt-ridden character is played by Thorkild Loose whilst Sigfrid Neiiendam is Anne's monstrous mother-in-law and Preben Lerdoff her pusillanimous lover. Lisbeth Moven's portrayal of Anne is undoubtedly her finest hour and Anna Svierkier's performance as Herlof's Marte is one of the most touching in film.
The final scene is ambiguous and one is left wondering whether Anne has the power or has simply convinced herself that she has. Critic André Bazin has suggested that 'the despair at the end could as well indicate confession as a lie'.
Film historian David Thomson has likened the film visually to 'Rembrandt on a strict budget'. The comparison with that magnificent painter is apt as both he and Dreyer pursued their personal vision determinedly and just as Rembrandt refused to cater to his rich clients' vanity so Dreyer never made the least attempt to pander to the box office. Posterity has the last laugh however.
This monumental piece has been dismissed by some as slow and ponderous but this viewer would prefer to describe its pace as 'measured'. As one would expect from this director it has atmospheric intensity, pictorial beauty and performances that are strong but restrained and in keeping with its subject matter is pervaded by a sense of doom and spiritual anguish.
Dreyer's masterful use of light and dark are never more apparent than in the contrast between the scenes of nature and the gloomy interiors whilst the clever use of light enables the character of Anne to be by turns innocent and sinister, angelic and demonic. This is most striking in the scene where she tells her aged husband that she wishes him dead which never fails to send a shiver. His guilt-ridden character is played by Thorkild Loose whilst Sigfrid Neiiendam is Anne's monstrous mother-in-law and Preben Lerdoff her pusillanimous lover. Lisbeth Moven's portrayal of Anne is undoubtedly her finest hour and Anna Svierkier's performance as Herlof's Marte is one of the most touching in film.
The final scene is ambiguous and one is left wondering whether Anne has the power or has simply convinced herself that she has. Critic André Bazin has suggested that 'the despair at the end could as well indicate confession as a lie'.
Film historian David Thomson has likened the film visually to 'Rembrandt on a strict budget'. The comparison with that magnificent painter is apt as both he and Dreyer pursued their personal vision determinedly and just as Rembrandt refused to cater to his rich clients' vanity so Dreyer never made the least attempt to pander to the box office. Posterity has the last laugh however.