撒旦日记

Carl Theodor Dreyer is the greatest filmmaker to come out of Denmark, but not here. This was early in his career, so I suppose it's excusable. Dreyer connects four stories from Christ to modern times just as D.W. Griffith did in 'Intolerance,' which obviously was the inspiration for this film. Story-wise, the four periods are more connected in this film, with Satan binding them; there's only the theme of intolerance throughout the ages and all that for 'Intolerance.' It's the radical editing in 'Intolerance,' however, that links its periods on much higher levels, ending in an exciting, emotional and astonishing climax. Dreyer doesn't get enough sympathy out of Satan to make up for that.

The cinematography and film-making here are what one might expect from the era--prosaic, indeed. There are a few close-ups and some panning for practical purposes. A few shots were okay (a shot a la Leonardo da Vinci's The Last Supper, a silhouette of a guillotine, POV shots out a window, some of the dolly movements inside), but most of it's basic--boring by today's standards. There's lots of masking, which Griffith and Bitzer are well known for, with opening iris shots and such, but there's probably too much of that here, and it's certainly not enough to make the film visually appealing. Satan doomed to continue his evil deeds during the life of Christ, the Spanish Inquisition, the French Revolution and the Russian occupation of Finland just isn't interesting enough of a story by itself to make the two hours worth it