Vredens Dag (Day of Wrath) (Day of Anger) poster & wallpaper

Albert Høeberg, Emanuel Jørgensen, Harald Holst

In a 17th-century Danish village, an old woman is accused of witchcraft. In the shadow of her flight, capture, confession, and burning at the stake, the young wife of the town's aging pastor falls in ...( read more  read more... )love with the pastor's son. Her confession of this illicit affair to her husband brings on his death. At his funeral, his mother denounces the widow as a witch. Will her lover come to her defense or has the day of wrath returned?

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93% liked it

1,504 ratings

Unrated, 1 hr. 37 min.

Directed by: Carl Theodor Dreyer

Release Date: January 1, 1943

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DVD Release Date: September 9, 2008

Stats: 102 reviews

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'Vredens dag' Lisbeth Movin as Anne Anne and Martin Thorkild Roose as Rev. Absalon 'Vredens dag' Anna Svierkier as Marte Herlofs 'Vredens dag' (Dreyer, 1943) Lisbeth Movin as Anne Anne and Martin Martin and Anne Marte Herlofs and Rev. Absalom Rev. Absalom and Marte Herlofs Absalom and Anne
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Flixster Reviews (102)

  • kenstachnik
    October 21, 2008
    kenstachnik
    I know this is a masterpiece, but I just wasn't into it. It's sooo solemn and glum and metaphorical.
  • columbiatch
    August 29, 2008
    columbiatch
    A good bridge between Passion and Ordet, as elements from both can be seen here. Sexual freedom is perceived as witchcraft, though the film leaves as possible a supernatural interpretation. One of the reason this and Ordet work so well is that both can be interpreted in many ways.
  • holmennnguy
    July 19, 2009
    holmennnguy
    I was very surprised on how spectacular this film was. The only other Dreyer film I'd seen previous was Vampyr which I also loved. From the very first couple of minutes I was glued to the screen and could not wait to see what happens next. There were several twists and turns that...( read more) I absolutely loved. Terrific acting by the entire cast! Overall I would say that this is one of the best Horror films to come out of the 1940s and I now look forward to seeing some of Dreyer's other works since I really liked his style.
  • kurosawian
    April 29, 2009
    kurosawian
    An earlier film demonstrates Dreyer's focus on storytelling. He went on to inspire Lars Von Trier to a great extent. Even Bergman has learned a thing or two from this Danish master.
  • JasonDennis91786
    April 10, 2009
    JasonDennis91786
    dreyer is very quickly becoming one of my favorite directors because of the potent themes he writes about and his artistry in depicting them. however this film is not one that will be enjoyed by all. and i'm not just referring to religious people. the acting in this movie is extr...( read more)emely stilted. especially by the two romantic leads. you are dealing with a silent film director here. the dialogue is very play-like, with directly metaphorical conversations dominating the screen time. also if you don't like pans, don't watch this movie. after only two films i can tell a dreyer from anything else because he pans the hell out of everything all the time. don't expect the sets to be great, either. at a couple of points i swear i saw 15 year old sets for the passion of joan of arc. if you can handle a subtly anti-religion, purely intellectual morality play, you will love and appreciate day of wrath. if those things don't appeal to you, don't see anything by this director.
  • daghka
    October 17, 2008
    daghka
    Probably one of the best films of all time. Dreyer's entire filmography is brilliant. There are few films that elicit what they want all the time. What sleaze does is what sleaze is supposed to do, here this feeling of despair, layered in structured complexity and bizarre dreamli...( read more)ke evocative imagery especially at the end, which is for me right up there as the best ending. I like how this is not an anti-war film as it was done during the Danes occupation by their southern neighbour, but more of the wrecking of souls by people incapable of responsibility, the use of their minds, sordid interests and vile jealousy. God is a tool, man is fooled.
  • hypathio7
    July 14, 2008
    hypathio7
    nominated for best picture by NBR
  • carlosnatalio1
    May 16, 2008
    carlosnatalio1
    `Meu Deus, a vida que os homens levam!`

    Após o fracasso comercial de Vampyr, Carl Dreyer teria de esperar onze anos para voltar às longas-metragens. Vredens Dag, adaptação de uma peça de Hans Wiers-Jenssen continua o périplo pela representação de mulheres fortes e obstinadas da ...( read more)galeria do dinamarquês. Ficou famosa na história a `trilogia` (não assumida, entenda-se) composta por esta obra, La Passion e Gertrud. Como nestas, a heroína é uma jovem que vê o seu amor ameaçado pelas normas de uma sociedade patriarcal obtusa que as julga e em última instância as condena. Amor no caso físico contraposto ao amor espiritual em Jeanne e intelectual em Gertrud.
    Anne é uma jovem que está casada com um Reverendo bastante mais velho e pelo qual não nutre o menor afecto. Além da frustração erótica tem de lidar com a `concorrência` da mãe do marido, símbolo de uma religiosidade castradora. Quando Martin, o filho do Reverendo chega, confirma-se o pré-anunciado escândalo: o envolvimento dos dois. Dreyer desde o início que não se preocupa em filmar a tragédia que daí advém mas sim em ensaiar motivos para a sua confirmação.
    Sobre esses motivos não é possível esconder que se estava a fazer cinema num país ocupado pela Alemanha nazi. Desta forma, a força do mal, ou antes do `desvio`, parece encontrar-se num herdado poder místico da protagonista (a sua mãe tinha sido perdoada por actos de bruxaria pelo Reverendo) ou na maldição que Marthe, uma velha bruxa, lança sobre o casal no momento da morte na fogueira. Mas o que na realidade parece existir é um certo desvio em relação à causa da condenação do próprio desvio. Por outras palavras, Dreyer sabe utilizar o misticismo como um acessório para falar do que realmente interessa- a ignorância do ser humano.
    Vredens Dag apenas é sobre corpos que querem amar, que têm medo de morrer, que querem ceder a impulsos e não ameaças. É esse o sentido da confissão final de Anne: um acto de libertação quando o seu amante vergado ante o peso do `pecado` a abandona. Uma mulher triste que não teve espaço para ser feliz.
    Desta forma, o olhar `puro inocente e claro` de Anne, mais do que carregar um erotismo fechado, alicerça a menos espiritual das obras de Dreyer. Por isso, quando Anne se convence que ela própria pode ser uma bruxa a sua ruptura representativa é tão teatral. Por isso, a figura de Marthe é a menos complexada, aquela cuja tortura e morte mais nos impressiona e por isso aquela que mais claramente permite ver um dedo apontado ao jugo nazi. Marthe apenas tem medo de morrer não se interessando sobre se vai encontrar Deus ou o Diabo quando partir.
    Apesar da intemporalidade da cólera humana retratada são curiosamente os elementos mais exteriores ao enredo que fizeram o sucesso de Vredens Dag. Falamos do cenário em que decorre e sobretudo da luz que percorre todo o filme numa homenagem à pintura flamenca. As sombras muito marcadas permitem enclausurar o espaço de Anne e sobretudo afirmam-se como marcas de expressão das personagens, numa continuação exterior do seu rigor representativo.
    Estilisticamente Vredens Dag afasta-se do grande plano de Jeanne D?Arc. Procura antes a montagem alternada e a estrutura episodal como em algumas das suas obras menos vistas ? Blad Af Satans Bog ou Die Gezeicheneten. Veja-se o episódio cruel de Marthe que parece ser uma antecâmara da intriga principal ou a sequência dos jovens amantes do campo alternada com a morte do velho Laurentius.
  • thrusz
    December 17, 2007
    thrusz
    So I wastched the Dreyer set this week. I can translate this out for you very quickly. I watched all of the Dreyer set means "I am now wildly depressed." These are some gloomy ass movies. No cheer. No happiness. JUST MISERY! AHHHHH!

    Okay, but here's the real beef. This...( read more) film is pretty darned solid. I'm not usually a fan of witch-hunt stories. I love Arthur Miller, but The Crucible is not one of my favorites of his. It's just not something that jives with me that easily. Mainly because I really can't understand such a mindset. To be that closeminded almost seems like all of the characters are two dimensional. Dreyer really toes the line of that kind of character simply due to the nature of the story. But he does create some three-dimensional characters. What is odd for me to see is the actual existance of witches in his story. I mean, it's not outright said, but there is a heavy implication that there is something beneath the surface of an otherwise traditional tale. I have to say, I kind of like that. I haven't watched the documentary on Dreyer yet, but one cannot help but notice the theme of religion and belief in these tales. I'm not quite sure what side of the camp Dreyer falls on, but regardless, these stories have universal messages within.

    Visually, this movie is graphic. Now, I'm not saying "horror movie" graphic. But it is a story about witch hunts. Do I think most people can handle it? Definitely. Do I think that people should be able to handle it? No way, Jose. Things are really just matter-of-fact in Day of Wrath, and that gets me. I think it is a strong aesthetic choice on Dreyer's part and the movie is really much stronger because of it. Again, am really hesitant to write about this movie being graphic, but in its own way, it is somewhat brutal. But the story isn't about gore or blood. Most of the story is about a trapped woman and that's what is really focused on in this story.
  • justindavis1
    November 2, 2007
    justindavis1
    This film is wrathful! haha.

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