Mary Poppins Returns
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All Critics (19)
| Top Critics (6)
| Fresh (15)
| Rotten (4)
| DVD (2)
It's exquisite, unbearable, and unforgettable.
Dreyer's film depicts repressed carnal desires that merge with Gertrud's inevitably frustrated spiritual one: the longing for a love so total and consuming that it contains the seeds of its own destruction.
Nina Pens Rode has the right luminous quality for the romantic, uncompromising Gertrud, while the men are acceptable if sometimes overindulgent in their roles.
One of the most purely cinematic discourses of the 1960s.
In his best films there has always been an underlying human concern that sustained us through any longueurs of execution. Here, under the slow, posed pictures, there is nothing but the dated theme described above.
Gertrud... is more museum piece than masterpiece, for this muted and stately study of a woman's quest for perfect love already seems to have been gathering dust for decades.
Here is an enigmatically modern film with the deceptive air of a staidly old-fashioned one.
Much maligned on its release, this mesmerising picture was subsequently hailed as one of the most remarkable achievements of a brilliant career.
An elegant melodrama, acted and directed with precision. Let it unfold at its own unhurried pace and the rewards are ample and long lasting.
The director's trademarks are present: symmetrical compositions in stripped black and white; long unmoving-camera takes; abrupt cuts without dissolves or fades among relatively few separate scenes.
Dreyer's silky camera movements capture the very soul of this character on film.
Carl Theodor Dreyer's transcendental meditation on love and happiness is his last and one of his best films, with a luminous performance at its center.
morose, but the characteristic cadence and sensitivity of Dreyer's mise en scene can always captivate the heart.
In "Gertrud," Gustav(Bendt Rothe) is excited at the prospect of being named cabinet minister. His wife Gertrud(Nina Pens Rode) is alright with this because she sees this as confirmation that he does not love her anymore. In fact, she has already taken a younger lover, Erland(Baard Owe), in plotting an escape plan from her marriage.
"Gertrud" is an immaculately crafted but stagy and talky melodrama. So much so, that the characters cannot but help express their feelings at every turn, overstating the central conflict between men's ambition and women's love.(What Gertrud should be so concerned with is why she is so continually attracted to alpha males.) Even at the time the movie is set at the turn of the 20th century, this is simply a stereotypical view of gender relations. In fact, there have always been ambitious women but in the past those ambitions were limited by the men around them.
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