A bully browbeats his wife and children until he meets his match in the woman who raised him.
A bully browbeats his wife and children until he meets his match in the woman who raised him.
L'angelo del focolare, Du sollst deine Frau ehren, Du skal aere din hustru, 집안의 주인
Addressing issues of domestic abuse and gender roles, Master of the House brings a daring and revolutionary script for the 1920s. It is quite unfortunate, however, that the film suffers from pacing issues and a generic piano score, especially during the middle part of the film. My biggest complaint is how tone-deaf the soundtrack felt when playing ecstatic and blissful pieces during moments of heartfelt drama. Although sometimes it fit the theme well, this was seldom. Had it considered tweaking these noticeable flaws, this film would easily feel timeless and legendary.
carl theodor dreyer a feminist icon!!!!
Imagine three years later, Dreyer would be making his landmark achievement in The Passion of Joan of Arc. That's basically what this film says to me; that it is a early silent stepping stone on his way to greatness. Master of the House is a well thought out concept that was not as a whole properly executed.
Promoted as being a comedy with grim subject matter (perhaps one of the earliest dark comedies?), I would go as far as to call it one of the most serious comedic film. In complete earnest, Dreyer tells a tale of a ungrateful husband and a under-appreciated wife. The film begins with a prologue of sorts in inter titles but not to do with…
Du skal ære din hustru
Oh wow, this film was not what I expected from a 1920s silent film. Viktor (played by Johannes Meyer) is the man of the house, and rules his household with a rod of iron. He never has a nice word to say to his wife Ida (played by Astrid Holm) who slaves day and night for him and their children, and neglects herself as they go through a time of financial hardship. He may however have met his match in the form of Mads, his old nursemaid (played by Mathilde Nielsen).
I would never have expected a film from the early 20th century to have portrayed a marriage in this way, to have suggested that women aren't men's slaves and aren't of less worth than men. Sadly there are still many Viktors in the world, but hopefully fewer than there were 90 years ago.
A solid morality play about a tyrannical husband who learns that he must respect and appreciate his wife properly.
It is wild how Dreyer went from something like this to THE PASSION OF JOAN OF ARC in just a few years. That's like going from directing an episode of Coronation Street to making Eraserhead or something.
Of course the best thing about this is how it ends with a bunch of title cards about how you need to respect your wife & how wonderful she is and then it cuts to a card reading 'SLUT' (Danish for 'the end'). I laughed so hard. Proper unintentional comedy.
In certain aspects Carl Theodor Dreyer's THE MASTER OF THE HOUSE (1925), or the orginal title DU SKAL ÆRE DIN HUSTRU, comes off like an old-fashioned version of PHANTOM THREAD (2017). Protagonist Viktor act like the arrogant Woodcock, a tyrant who demands control and power, while his caretaker 'Mads' becomes his challeging counterpart. Viktor demoralizes and taunts his wife Ida, who eventually breaks down and force Viktor to reconsider his behavior.
Thus, Dreyer dwells into interesting subjects of gender roles and love, but oh does the lengendary filmmaker create something dull here. THE MASTER OF THE HOUSE is overly long and its messages are tediously repeated and thrown in your face. Neither is there really anything interesting going on visually. The film definitely feels like a Dreyer who hasn't found his style yet and it's difficult to believe that only three years later the director would make the technical marvel that is THE PASSION OF JOAN OF ARC (1928).
Master of the House is a formalist's reverie, a film in which Carl Th. Dreyer sought to reclaim the house as a female-dominated space through a subversion of traditional techniques for presenting it. I have never seen another silent-era film use a shot where the camera's trajectory is diagonal to the wall (rather than perpendicular) as the establishing shot; from the opening shots, Master of the House promotes a sense of unevenness and uneasiness that is echoed further by the tyrannic rule of the husband and the subjugation of the wife. Dreyer's technical genius persists throughout the film, with a later scene involving a conversation between the husband and his former nanny creating tension through close-ups, cleverly revealing shot reverse…
pretty sure i woulda slit his throat at breakfast
Carl Dreyer, auteur of the human soul on film, transforms an ordinary domestic drama into a suspenseful and funny feminist treatise on marriage. Dreyer builds the environment with meticulous mise en scéne, subtle camera movement and profound use of space. The opening sequence following Ida in her morning chores is at once a documentary of how the lower classes lived at the turn of the century, and also a delicate and deep piece of world building. It also establishes Ida's self-sacrificing, sweet, hardworking nature. For the detail isn't about realism in the Italian sense, but about constructing a morality. Hence, the subsequent development of the husband as a spoilt, childish monster. But Dreyer doesn't stop there. He dives into the…
Family as patriarchal violence. A rather simple exercise by Dreyer, not taking many chances as he just tries to develop the film as a direct sattire without losing his potent dramatic focus.
Everything is great about Carl Theodor Dreyer.
The last just good film, from the master, before he started making some of the greatest masterpieces of all cinema.
Week 3 - Movement - Scandinavian Silent Cinema in the 1920s
No, I have not given up on Film School Drop Outs 2018. Yes, I am doing terribly at it.
I honestly enjoyed watching Viktor being a deplorable jackass more than anything, and when that stopped, I was quite disappointed. Dreyer going from this to The Passion Of Joan Of Arc with only one film in between is quite incredible though.
I enjoyed this a lot. Easily one of my favorite silent films, only behind Dreyer’s Passion of Joan of Arc and some Chaplin films. Extremely entertaining and quite impressive for the time it was made, especially in regards to the themes of this movie. If anyone is looking for a surprisingly progressive silent film, check this one out.
The great Dreyer making a good movie. That's not a compliment. A step back from his previous 'Michael'.
The closest the cute Dreyer may have gotten. It's a light comedy about the ever common theme of Dreyer, the tyranny of men against women. Progressive for 1925, but a bit too long for such a simple idea. It's still entertaining and you can see hints of what was to come further down his career.
Dreyer remains a maestro of storytelling, even in the early days of the cinematic form.
There’s a great deal of nuance in Master of the House’s organic (even languid) pacing and acting, and it kept me hooked every minute. The interior cinematography is comprised mostly of searing portraits, while the exteriors are ultra-grim wide (sometimes tracking) shots. It got under my skin in a way I didn’t expect.
Turns out this actually is a pretty Decembery film, with its Christmas Carol type of story where a despicable man goes through a radical change to become a better man. Obviously, Dreyer would go on to make better films, but this is still clearly made by a cinematic master.
Having watched several earlier Dreyer films now, I'm coming to see duty to one another as a central preoccupation of this stretch of his oeuvre. I don't know much about him or the times he lived in; I've been watching the films without context. A broader contextual awareness can usefully inform the interpretation of an artwork, and yet, I'm always slightly resistant to it, at least at first. I try and find something in a film itself. I think this is partly a negative trait born from insecurity; I want to reinforce to myself that I'm an advanced enough film reader, or more generally, thinker, to have a genuinely personal interpretation of a film. This ack of humility could ultimately…
Alternate title: What's He Gonna Bitch About Now?
You gotta sleep sometime, mofo.
Very ahead of its time in message! Fun to watch young Dreyer play around.
I've seen it at the French Cinémathèque with very fine piano accompaniment.
It's a very modern film in its imagery, funny and it carries a message which - unfortunately - has not aged so much. Excellent!
Carl Theodor Dreyer nos presenta un relato interesante, que nos habla de las relaciones de poder y sometimiento entre hombre y mujer; lo que significa amar o sobre cómo las personas cambian. Y lo hace de una manera que, sin ser de obra maestra, por lo menos consiguió mantener mi atención en lo que me contaba.
Lo que más lastra a la cinta es la música: ésta se hace bastante repetitiva y no tienen tanta intensidad como se exige en escenas más dramáticas, por ejemplo. Tampoco le hace ningún favor que su antagonista no tenga tanto trasfondo o desarrollo, e intente que empaticemos con él.
Sus virtudes residen en las actuaciones, las cuales, sin ser de otro planeta, resultan muy…
Thematically ahead of its time, but Dreyer is still learning the language of cinema, using intertitles as a crutch and leaving in unnecessary scenes. And by the end, there's no doubt what the movie was about, as the message has been drilled into your head a dozen times.