"The Parson's Widow" is one of the best silent films that I have ever seen. Its images, its pace, and its themes all blend together into one fine production from the young director Carl Theodor Dreyer.
Since the plot of the film is well-covered by other reviewers, I will focus on other elements of the film. The photography of the film is rich and subtle, just what one would expect of the film's director. The opening scene of a waterfall is one of the many refreshing Norwegian country images that enliven this film. In some cases, the photography also reveals the characters' inner states of mind. The scene where the young minister gets drunk is photographed through a diffuser; the images look fuzzy and indistinct. This diffuser is removed and the image becomes clear again when the minister sobers up. Again, the photography of the film is quite clever and contributes greatly to experience of watching the "The Parson's Widow".
The period flavor is also excellent. The film was produced in the historical village of Lillehammer, Norway. The film exudes the feeling of life in seventeenth century Europe. Churchgoers are herded into stall-like pews, and the elders are instructed to tap them on the shoulder with a stick when they fall asleep during the sermons. One can almost feel the environment where the drama plays itself out.
Perhaps the only flaw in "The Parson's Widow" is its performances. The performances are pretty good, but the fast pace of the film (it is about seventy minutes long) makes it difficult for any of the performers to shine brightly. "The Parson's Widow" is definitely story-focused;little time is allowed for the actors and actresses to establish bits of business that might deepen their characterizations.
All the same, "The Parson's Widow" is a small masterpiece and I recommend its viewing to all persons interested in the themes of love, death or religion. Enthusiasts of Carl Theodor Dreyer should be doubly pleased by this remarkable drama.
Since the plot of the film is well-covered by other reviewers, I will focus on other elements of the film. The photography of the film is rich and subtle, just what one would expect of the film's director. The opening scene of a waterfall is one of the many refreshing Norwegian country images that enliven this film. In some cases, the photography also reveals the characters' inner states of mind. The scene where the young minister gets drunk is photographed through a diffuser; the images look fuzzy and indistinct. This diffuser is removed and the image becomes clear again when the minister sobers up. Again, the photography of the film is quite clever and contributes greatly to experience of watching the "The Parson's Widow".
The period flavor is also excellent. The film was produced in the historical village of Lillehammer, Norway. The film exudes the feeling of life in seventeenth century Europe. Churchgoers are herded into stall-like pews, and the elders are instructed to tap them on the shoulder with a stick when they fall asleep during the sermons. One can almost feel the environment where the drama plays itself out.
Perhaps the only flaw in "The Parson's Widow" is its performances. The performances are pretty good, but the fast pace of the film (it is about seventy minutes long) makes it difficult for any of the performers to shine brightly. "The Parson's Widow" is definitely story-focused;little time is allowed for the actors and actresses to establish bits of business that might deepen their characterizations.
All the same, "The Parson's Widow" is a small masterpiece and I recommend its viewing to all persons interested in the themes of love, death or religion. Enthusiasts of Carl Theodor Dreyer should be doubly pleased by this remarkable drama.