Christian’s Cinematic Syntax: Faith and “Ordet”

Editor’s Note: Below is an essay written by Film Blogger Christian Mietus, covering the themes of faith within Carl Theodor Dreyer’s 1955 film, Ordet. Mietus originally wrote the piece for his Intro to Film Studies class with Jet Fuel Review‘s very own Dr. Simone Muench. Spoilers follow.

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Ordet (or “The Word” in English) is a Danish film that was directed by Carl Theodor Dreyer in 1955. Dreyer is known for directing some of the world’s most praised arthouse films, such as The Passion of Joan of Arc (1928), Vampyr (1932), and Day of Wrath (1943).  Although he receives this praise today, his films were never financial successes until Ordet’s release, which could be attributed to a variety of reasons, specifically the film being an incredibly meticulous mastery of the craft by Dreyer and cinematographer Henning Bendtsen.

Dreyer’s body of work has many themes that are represented in many fashions. For example, in a Senses of Cinema article written by Thomas Beltzer, he writes, “In Dreyer’s films … It is always a faith well placed because the spiritual realm is as present and real as the material realm, and both are completely interwoven.” In Ordet, the themes of faith and the fantastical realm are interwoven into the mortal realm through the tragic death of Inger Borgen (Birgitte Federspiel), as well as through the actions of characters including Morten Borgen (Henrik Malberg), Johannes (Preben Lerdorff Rye), and Mikkel Borgen (Emil Hass Christensen) — all emphasized through dialogue, mise en scène, and precise cinematography.

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