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Boîtier Digipack
Aspect Ratio ‏ : ‎ 16:9 – 1.66:1
Rated ‏ : ‎ Universal
Product Dimensions ‏ : ‎ 13.8 x 0.6 x 18.8 cm; 20 g
Director ‏ : ‎ Carl Theodor Dreyer
Media Format ‏ : ‎ Black & White, Widescreen, PAL
Run time ‏ : ‎ 1 hour and 52 minutes
Release date ‏ : ‎ 7 Sept. 2021
Actors ‏ : ‎ Nina Pens Rode, Bendt Rothe, Ebbe Rode, Baard Owe, Axel Strøbye
Dubbed: ‏ : ‎ Danish
Subtitles: ‏ : ‎ French
Language ‏ : ‎ Danish (Dolby Digital 2.0 Mono)
Studio ‏ : ‎ Potemkine Films
ASIN ‏ : ‎ B08QRZ7SCK
Country of origin ‏ : ‎ France
Number of discs ‏ : ‎ 1
Prix : €22.95
(à partir de Jun 14, 2025 23:13:01 UTC – Details)

AJOUTER AU PANIER

Les acheteurs donnent la note de 4.5/5 à cet article

Avis sur le films
Reviewer: oumebaba
Rating: 5.0 out of 5 stars
Title: * Sobre, Douloureux, Beau *
Review: Cette très lointaine édition K Films n’était pas parfaite mais tout de même méritante, l’image assez joliment rendue avec une sonorité bien adéquate, une galerie de photos fort bien conçue en supplément, la compression générale sur le film demeurant plutôt assez correcte pour l’époque de cette sortie DVD… Bref, ce film admirable, comme une étude de sombre peinture musicale des sentiments, hors du temps, se redécouvrira ici (K Films) dans des conditions certes un peu rustiques ‘presque aléatoires’ mais néanmoins bien séduisantes, à coup sûr, pour l’aficionado amoureux de l’oeuvre rare et fragile! …
Reviewer: Nachtschatten
Rating: 3.0 out of 5 stars
Title: Le dernier long-métrage de Dreyer
Review: Metteur en scène discret et à la filmographie restreinte (14 films), Carl Dreyer tourna son dernier film dans les années 60, Gertrud (1964). Ce mélodrame austère où tout était réduit au strict minimum (mouvements de caméra, décors) ne passionna guère le public et les critiques.Je dois reconnaître que Gertrud m’a fait penser à certains films de Bergman qui se rapprochent du théâtre filmé, et j’ai du mal avec ce genre que je trouve bavard.Gertrud n’en demeure pas moins un film intéressant, qui bénéficie d’un très beau noir et blanc et de cadrages de caméra exemplaires. Dreyer privilégie les longs plans-séquence, souvent fixes. Seul Ozu alla aussi loin dans une réalisation aussi épurée.En tout cas, je ne peux que vous conseiller de découvrir la filmographie passionnante du célèbre metteur en scène danois (La Passion de Jeanne d’Arc, Vampyr, Ordet, Jour de colère …).
Reviewer: LINNEO
Rating: 5.0 out of 5 stars
Title:
Review: FILM STORICO,VERA CONSOLAZIONE DELL’ANIMO UMANO,CARATTERIZZATO AI PENSIERO PROFONDO E D’INEFFABILE EDUCAZIONE SPIRITUALE. OPERA DI UN VERO MAESTRO DEL CINEMA UNIVERSALE. AUSPICABILE UNA RIEDIZIONE FACILMENTE DISPONIBILE A LIVELLO DISTRIBUTIVO. MASSIMA VALUTAZIONE.
Reviewer: J. L. Sievert
Rating: 5.0 out of 5 stars
Title:
Review: Carl Dreyer (1889-1968), the pioneering Danish director, left a small body of work behind. Fourteen films could seem a lot, but of these several were experimental shorts and many others were not even talkies. He began his work in 1919 but throughout his career worked slowly, deliberately, meticulously, characteristics seen in the films themselves, his pace unhurried, his gaze resolute. There is action, but never rushed in scenes, the smallest gestures and details amplified, non-verbal language just as important as verbal, or even more important, as the truest and deepest statements are sometimes unformed by words. Language, by contrast, can deflect and obfuscate, impeding what is truly there.Theatre helped Dreyer in this regard. He strived for its freshness and immediacy in film. He wasn’t a playwright but thought and filmed as one would, appreciating what playwrights do, wordlessly conjuring mood and atmosphere from nothing. Dreyer was a master of this silent language, of pauses, half-looks and hesitations. It’s seen here in his very last film, released in 1964, his complexity paradoxically structured in sparse simplicity — in dialogue, sets and plot pared down to essences, further enhanced by his chaste black-and-white photography.Gertrud is the focus of the film. She inhabits a world of privileged men, each successful in worldly terms. These men (four of them) adore her. They are Gustav Kanning, her husband, lawyer to the Danish government and a soon-to-be-appointed minister in it; Erland Jansson, a young concert pianist with whom Gertrud has become infatuated; Gabriel Lidman, a renowned poet and man of letters whose love for Gertrud remains; and Axel Nygren, a psychologist and psychoanalyst in the new field of psychiatry who is Gertrud’s steadfast platonic friend.We are in Copenhagen in 1907, the world simultaneously old and new, a world of horse-drawn carriages and modern marvels such as electric lights and telephones. The age is outwardly progressive but masks inward repression. Gertrud feels both acutely. She’s modern in spirit, independent in outlook, but chained to old values by patriarchal assumptions. Men are professional. They do the important work. They run the government, banks, law courts, commerce. They are the nation, or those who make it function. Women are the strength behind these men. They give them support, encouragement, love. They also give them families, stability, respectability.Things that surround Gertrud say she should be happy: elegant dresses, opulent rooms, servants, fine food, the opera and theatre, intelligent and articulate friends. A husband, too, happy to have her, though she wonders what his happiness consists of. Is he happy because she’s gentle, kind, feminine and beautiful? Does he admire her intelligence and lovely singing voice? Is he proud to have others see her beauty and talents? Does she provide further proof of his success in society? Does he really love her, or just love what she helps make others think of him?Whatever it may be, she feels hollow, “appallingly lonely and empty” (her words). How long this has taken her to feel we don’t know, but it’s the case now, her marriage a prop, a formality, an image and ritual. She thought she married for love, for something real and lasting. But she was mistaken. Gustav cannot love her as she wishes. He’s inadequate. Her needs, passions and desires are not his main concerns.Later he will regret the way he has thought and lived, but by then it will be too late. He thinks to himself:“Slowly, clumsily, life slips through our fingers no matter what we do.”She took a lover, a young, immature, self-centred, egotistical lover. He is Erland. By now Gertrud may be 34, Erland perhaps 24. He’s a rising star in opera, a brilliant composer and pianist. His artistry intoxicates her. She loves Erland for this, repeatedly confessing her love to him. Does he love her? He says so but only at her prompting. He loves women, it turns out, or loves to have them love him. Gertrud is not the first and only. He thought their affair would be lighthearted, a passing fancy. He has lately got used to such things. Her expectation was something else. She thought the purity of his art reflected the purity of his soul.Gabriel is a successful poet. He is feted throughout Denmark. He lives abroad now, having spent time in Italy and elsewhere. But now he has returned for his 50th birthday celebration, a formal dinner affair attended by cultured guests. Gabriel rises to make a short speech about the value of love and thought — love made through sincere affection, thought via fidelity to truth. He is high-minded and moral, a great man, his poetry reflecting it.Gabriel has always loved Gertrud it seems. They loved before she married. He hears she has separated from Gustav, or soon will with an aim toward divorce. Gabriel wants what was lost in their past. He begs Gertrud to go away with him. But she refuses.The emotional pattern and problem presented here repeats itself with three different men: same situation, different details.Gustav, Gertrud’s lawyer husband, is dedicated to the courts and government. His professional career defines him. He is what he does rather than who he is. That’s his problem, or one that has become a problem for Gertrud. She never loved his career or position. He is swallowed by them.It’s over.She says to him:“The man I am to be with must be mine entirely. I must have precedence. I won’t just be a toy to be played with now and again.”Erland is dedicated to his art, to his compositions and reputation. The lights that shine on him make him what he is. Gertrud loved the soul that made the art, not the lights that shone on it. She thought the soul was love, but found there was no soul, only talent. Erland was just a successful mimic.She says to him:“I had a dream last night. I ran naked through the streets pursued by hounds. I woke up when they caught me. I then realised we two are quite alone in the world.”Gabriel became a great man and poet. Greatness became a badge of honour for him. Later he saw it as a burden, an empty conceit, but it was too late. For too long he pursued the poetry of love rather than love itself, his life and priorities facing backward.She says to him:“It was your work that separated us — honour, fame, money, everything that shone…And you wanted the pleasures of the flesh, not love. You became a great man, but for me you are cold as stone. I want red, warm, life blood. I don’t want greatness.”The fourth man, the last who loves her, is different. He is Axel. Their love is platonic, a pledge of equality, not one of eroticism and possession. Passion is gone, replaced by mutual respect, man and woman now in harmony.She says to him:“There is no other life than to love. Nothing. Nothing else.”Love is all, love not compromised, and all her sufferings for it have been worth it.Forty years have passed since she went to Paris at Axel’s invitation to live there. Now Axel has come to Copenhagen to say goodbye to her for perhaps the last time. In the solitude of old age all her old lovers are gone. She now looks back at life and makes this heartfelt confession to herself:“I know I have loved.”She was Dreyer’s final gift to the world.
Reviewer: Mavi
Rating: 5.0 out of 5 stars
Title:
Review: Uno dei capolavori del regista Carl Theodor Dreyer. imperdibile per tutti gli estimatori del suo genere.Sono stati rispettati termini di consegna e le condizioni richieste.