THE “WORD” ON THE BIG SCREEN. ORDET, from Molander to Dreyer’s genius. Volume 1.

This essay, ideated and written by Loretta Guerrini presents the first comparative analysis between the drama Ordet by K. Munk (The Word or better still The Verb in an Evangelical sense) and the two movies of C. Th. Dreyer (1954) and of G. Molander (1943). The Ordet version of Dreyer is rigorous for the excellent use of details and the influence of legends from the North has been for Dreyer a starting point to “symbolize” the aesthetic approach which made of his style a model to be ranged in the Classics of the history of cinema. A difference from Munk is to be found in the episode of Inger’s resurrection, which is the dramatic acme of the film, and confers it a much wider meaning and realistic cypher, because it is realism that guides the stylistic choice even in its exemplary abstractions. This important research underlines some differences about the religious view: the filmmakers had to face a difficult subject for a filmic treatment due to the unsuitability for the screen of the relationship between the living and the Sacred. This study made in depth includes the dramatization and its structure; and also focuses on some special suggestion concerning the relationship between characters and their setting. The only Italian script of the film has been corrected (by G. Cincotti 1956) and the only subtitled version of Ordet (by Molander) has been restored. This study is presented by one of the most important international experts of C. Th. Dreyer, Jean Sémolué and is introduced by Giacomo Manzoli.