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Michael (1924)
Tomatometer
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Reviews Counted:6
Fresh:5
Rotten:1
Average Rating:7.2/10
Runtime: 86 mins
Genre: Foreign Films
US Box Office: $0
Synopsis: A 1924 adaptation of Herman Bang's decadent novel from Danish master Carl Theodor Dreyer, MICHAEL is a recreation of the mythological love triangle between Jupiter, his wife Juno, and Ganymede.... A 1924 adaptation of Herman Bang's decadent novel from Danish master Carl Theodor Dreyer, MICHAEL is a recreation of the mythological love triangle between Jupiter, his wife Juno, and Ganymede. Sensitive and elegant, it is a technically adept and sumptuous portrait of an aging artist, Zoret (director Benjamin Christensen), and his passionate love for his young muse, Michael (Walter Slezak, LIFEBOAT). When Princess Zamika (Nora Gregor, RULES OF THE GAME), a sensuous femme fatale, also falls under the spell of his youthful beauty, Michael is in turn enchanted and begins to drift away from the older man; Zoret is left to watch helplessly, and eventually succumbs to despair and loneliness. With performances both melodramatic and subtly restrained, the depth of the characters' love and melancholy are brilliantly communicated. The elaborate fin de siecle sets are stunningly photographed by cinematographer Karl Freund (METROPOLIS, THE LAST LAUGH), who also appears here in the sole onscreen performance of his career. [More]
Starring: Benjamin Christensen, Walter Slezak
Starring: Benjamin Christensen, Walter Slezak
Director: Carl Theodor Dreyer
Director: Carl Theodor Dreyer
Reviews for Michael
A dull piece of work, redeemed only by some artistic scenes and Benjamin Christensen's able portrayal of Claude Zoret, an artist.
As drama, the characters remain too distant to offer the warmth needed for Dreyer to convey that love in its purity conquers all in the end.
A truly fascinating film with just the tiniest hint of the greatness yet to come.
Many critics have chosen to downplay the film’s gay subtext, but to do so would deny the power of Dreyer’s fastidious attention to the polarity of love’s vicissitudes.
If the mechanics of the plot seem, well, mechanical, what sets the film apart from other silent melodramas of the time is the unspoken dialectic between love and art.
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