Okay, I'll bite.  I alluded to the reason behind my submission of Carl Theodor Dreyer back in June (second post from top), which was his constant experimentation to create something original and unique in each of his films.  His philosophy was never to create the same film twice.

"The President" – Used montage in this early silent film, even before Eisenstein.  Used non-professional actors (before Robert Bresson) who were chosen based on facial characteristics that displayed the emotions that he wanted to convey.

"Master of the House" – Dreyer shows versatility by directing a successful, popular comedy, in addition to his more serious fare.

"The Passion of Joan Arc" – a completely innovative film in the use of variable distance close-ups that had not been done before or duplicated since. 

"Vampyr" – Dreyer experimented with the idea of visually translating the dream state

"Day of Wrath" – Defied film convention by showing a denounced witch (Herlof's Marthe) as being tied to a tall stake then allowed to "fall" (or dropped) onto a bonfire, instead of the conventional image of a person tied to the stake then set on fire.  This made the death seem quicker and more "humane".  Also, all of the actors were selected because of their angular features, except for Anna Sverkier (Herlof's Marthe) who has rounded features, and whose character represents a secularity and "earthiness".

"Ordet" – Symbolic use of light and shadow.  The character Johannes, who was mentally ill for most of the film, was underlit relative to the other characters in order to suggest his state of mind.  When he commands the miracle, his lighting intensity is the same as the others in the room in order to show that he is now rational.

"Gertrud" – Experimented with the creation of a "statuesque" film in order to reflect the moral and social rigidity of the period.

acquarello
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