搜索"卡尔·西奥多·德莱叶" ，找到 部影视作品
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卡尔·西奥多·德莱叶这部喜剧引出心灵流变的轨迹，并在喜剧形式表现中要求夸张的转折与表演方式。他的简单主义从《总统》的办公室开始到玛格丽特夫人的屋舍，更趋向朴质。而对容貌的描写这里也有了开端。影片中的骗徒，终究抵抗不了良心的责备以及虚假婚姻阻隔与女友之间的真情。但有趣的是，被骗的老妇却早已察觉他的不怀好意但又绝非恶徒。反而是外力最后促使内在的圆满。
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故事发生在丹麦一个宗教氛围极浓的村子里，农夫波根有三个儿子，大儿子对宗教持怀疑态度，性情叛逆；小儿子居然与不同信仰的女孩谈恋爱，而影片的主角、三兄弟中的老二相信自己就是耶稣，被大家当成疯子，因为本来读神学的他在经历未婚妻离世后打击太大而成疯癫；但有一天老二开始“显灵”，让死人复活，自己的神智也开始恢复。
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Kampen mod Kræften是一部 1947 年拍摄的丹麦纪录片，由Carl Th 执导。德雷叶根据他自己和卡尔·克雷布斯的剧本改编。同年发行了一个删节版，标题为“不要等待太久”一部政府资助的纪录片，警告人们癌症的危险。这部电影是关于认真对待癌症的公益广告。等到最后一刻才去医院的人死了，第一次怀疑有肿瘤就来医院的人被治愈了。更有趣的是，影片展示了两种癌症的不同阶段——唇癌和子宫癌。描述了一些严重的癌症病例，这些病例的症状比患者去过大型癌症中心时更严重。座右铭：“不要等太久。来这个国家的三个镭站之一吧。”
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英俊青年麦克尔（Walter Slezak 饰）是画家苏莱特的专属模特，以麦克尔为原型，苏莱特创作出了精美的艺术作品，名声大噪，登门求画的人络绎不绝，但苏莱特为了保存和麦克尔的美好回忆拒绝出卖杰作。年轻貌美的女伯爵拜访苏莱特，请求后者为自己画像，麦克尔默默注视着女伯爵，四目交投之下，情意暗生，苏莱特思量之后决定为女伯爵作画，但创作不久因苏莱特无法描画女伯爵的眼睛而陷入停滞，麦克尔提笔代劳，女伯爵美丽的神色跃然画上……麦克尔与女伯爵相爱并逐渐离苏莱特而去，苏莱特承受着年青人的欺骗和背叛，将内心的悲苦呈现在画作上，受孤独煎熬的生命之火渐渐熄灭…… 本片根据赫曼·邦的同名小说改编，是电影史上最早涉及同性恋题材的作品之一。著名画家克劳德·佐雷（Claude Zoret）爱上了他的模特迈克尔（Michael），两人一度幸福地生活在一起。佐雷特意识到自己比迈克尔年长很多，因此表现出嫉妒和占有欲。迈克尔开始疏远他，导致佐雷特被动地主动将迈克尔推得更远。当一位破产的伯爵夫人来到佐雷特拍摄肖像时——真正的目的是引诱他并骗取他的钱——她发现迈克尔更容易接受她的示好。在她的带领下，两人很快成为情侣，她立即开始利用迈克尔从佐雷那里偷东西。当佐雷特发现发生了什么事时，他崩溃了，他的工作也受到了严重影响。迈克尔卖掉了佐雷特创作的自己的画作并作为礼物送给他，并偷走了佐雷特在阿尔及尔（他们第一次坠入爱河）时所画的草图并出售。佐雷特开始创作他的杰作：一幅大型画作，画中一名男子躺在海滩上，以阿尔及尔为背景，描绘了“一个失去一切的人”，正如其中一个角色第一次看到这幅作品时所说的那样。这幅画完成后，佐雷病倒了。查尔斯·斯威特临终时坐在佐雷旁边。斯威特一直爱着佐雷特，并始终陪伴在他身边，从不批评迈克尔，以免伤害他的单相思。斯威特给迈克尔发了一条消息，告诉他佐雷快要死了，要立即赶来，但伯爵夫人阻止了他。佐雷的遗言是“现在我可以平静地死去了，因为我看到了真爱”，这也是影片的序幕。
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维克托是个大男子主义者，在他眼里，妻子艾达所做的一切都是理所应当的。有一天，艾达被辞退了，心中更加无比愤懑，维克托的老奶奶和朋友们于是决定演一出好戏，让维克托反思自己过去的行为。
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The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown. Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath. The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments. In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church. On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast. Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive. The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
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影片聚焦法国民族女英雄圣女贞德（玛利亚·法奥康涅蒂 Maria Falconetti饰）生命的最后时刻，再现了她被出卖落入勃艮第叛军手中后，在英格兰监狱和法庭上，从受审到处死的全过程。被英格兰当局严密控制的天主教会，指控贞德为异端和女巫。法庭上，法官更伪造证据，以信仰问题不断对她施以精神上和肉体上的折磨。面对惨无人道的酷刑与子虚乌有的诬陷，贞德正气凛然、坚贞不屈。最后，贞德被押赴鲁昂市广场，被绑在火刑柱上活活烧死。 由一代电影大师卡尔·西奥多·德莱叶执导拍摄的影片《圣女贞德蒙难记》，被称为世界十大最佳影片之一。影片以极具震撼力的艺术表现手法，再现了这段受到天主教会和英国占领军折磨的民族英雄短暂生命中的最后时刻。