The film was during Nazi occupation, so that allegory serves beyond even the world of the film’s narrative
First feature in 11 years for Dreyer (Vampyr was 1932)
It’s a story of persecution just like Joan of Arc
Beautiful long opening take of Anna Sviekier’s Herlofs Marte fleeing
His style forms and aesthetic choices largely vary throughout his work, but, as always, you get intelligence and theology
Gorgeous tracking shot of the young suspected witch ending in a corridor with parallel columns (see pic)
Historical statement on hiding those on the run, hypocrisy and the repercussions on silence
The naked torture/confession scene is devastating—it’s an overwhelmingly bleak film
Lots of shadow work
It’s a very brief little montage but I like the sequence of the two young lovers playing in the fields. An idyllic moment
Gothic stark architecture
Ticking clock heard in the house as opposed to music quite often
A stunner of a shot in the boat as it moves up the river. Literally in the boat
Wind-whipping sound mix during climax
The young girl’s hair is always up until the climax seduction
This is complex- She does actually seem to hold some sort of spiritual or supernatural power. And Dreyer hints (at the very least) at this through editing
Reoccurring shot in wheat fields
Owes much to Hawthorne
360 shot shows altar boys singing that haunting song
Dreyer lingers a beat and a half long on almost every shot—certainly intentional
[…] Day of Wrath– Dreyer […]