‘Ordet’ – Carl Theodor Dreyer – A/S Palladium
“Ordet is a difficult film to enter.
But once you’re inside,
it is impossible to escape.”
~ Roger Ebert
There is a beautiful line in the film ‘Ordet’. This is when Inger answers her husband who is complaining about his lack of faith. “It will come. Just you see how warm you will feel then. And how happy. It’s nice to be happy, isn’t it?” How revealing that she equates here faith with happiness. For faith in God is usually meant to be a deeply ingrained certainty or belief, something artificial, made up, sustained. Serious spiritual seekers will tend to abandon the word, in favour of the search for — and ultimately abidance in — something that is our natural and inborn identity, always present in and as ourself, never at a distance. But there is indeed a kind of faith necessary for the discovery of this hidden identity. This is better called the love of truth, or a deeply ingrained eagerness to find the truth, an earnestness, a fervour that starts and fuels the journey towards the understanding of ourself.
Faith and the lack of faith are at the centre of the Danish film ‘Ordet’, meaning ‘The Word’. This is a film of iconic dimension, that has been celebrated the world over for its perfect craftsmanship and its deeply religious subject. It was made in 1955 by one of the greatest film director in history, Carl Theodor Dreyer. Watching Ordet, you are shown to what degree of elevation a film can be subject to in the hands of a true artist. Watching the film, you are slowly grabbed and lead to unforgettable artistic and spiritual heights. Dreyer, who thought deeply about his art, once said: “There is a certain resemblance between a work of art and a person. Just as one can talk about a person’s soul, one can also talk about the work of art’s soul, its personality. […] Style is not something that can be separated from the finished work of art. It saturates and penetrates it, and yet is invisible and undemonstrable.”