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...third annual New York Film Festival held at Lincoln Center two years ago, came close to becoming important event in the international film world. Like the festivals at Cannes or Venice, it provided a survey of the most recent masterpieces established directors, such as Godard, Kurosawa, Visconti, Ray, and Dreyer. In addition, the New York showing introduced much fresh talent. Three brilliant Eastern European directors, Jan Kadar and Milos Forman from Czechoslovakia and Jerzy Skolimowski from Poland, had their American debut at the Festival...

Author: By Daniel J. Singal, | Title: New York Film Festival: Hits and Misses | 10/7/1965 | See Source »

Trial of Joan of Arc. With the exception of Carl Dreyer's silent classic The Passion of Joan of Arc (1928), the numerous films about the martyred Maid of Orleans have contributed very little to art and less to the box office. The subject thus seems a natural for French Director Robert Bresson (Diary of a Country Priest, Pickpocket), who for more than two decades has been making austere, praiseworthy, but unpopular movies. Bresson's treatment of the Trial of Joan is characteristically ascetic; but it is also quintessential history, unique and timeless, graced with a master...

Author: /time Magazine | Title: Cinema: A Stake in History | 2/12/1965 | See Source »

Sister Charitas' observations are based on sound medical theory. Obstetricians are increasingly aware that an overdependence on anesthetics can lead to fetal damage. On the other hand, nobody expects mothers going through natural childbirth to be martyrs. St. Mary's Dr. Carl Dreyer tells all natural-childbirth mothers in the delivery room: "Any time this ceases to be fun, we can give you gas." But a surprising number never ask for it, prefer instead to reap the psychological benefits of wide-awake participation in their baby's birth. "It is common for a natural-childbirth mother right...

Author: /time Magazine | Title: Obstetrics: Fewer Drugs for Happier Mothers | 9/25/1964 | See Source »

...unecessary, the film runs in absolute silence. When a machine gun fires, the frames jump in the same staccato. The film is divided into tweive titled episodes; the exposure as well as the focus fades emphatically with the concluding line of each episode. Alternating sequences of an early Dreyer film clip and Godard's modern celluloid contrast sharply with each other...

Author: By Paul Williams, | Title: My Life to Live | 12/6/1963 | See Source »

Ordet. A luminously beautiful religious allegory made by Denmark's Carl (Day of Wrath) Dreyer (TIME...

Author: /time Magazine | Title: Cinema: CURRENT & CHOICE, Apr. 28, 1958 | 4/28/1958 | See Source »

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