Cinema: The New Pictures, Dec. 16, 1957
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Unfortunately, Dreyer's defects are almost as spectacular as his virtues. If he is passionately true to himself, he can also be childishly subjective: his conception of the Christ (Preben Lerdorff Rye), for instance, is simply silly. And at times he is pointlessly rude to his audience. It is all very well to make a scene move slowly when the slowness adds to the weight and seriousness of the situation. But there is no good esthetic reason why every scene, regardless of content, should move at the doleful, two-beat trudge of a funeral march.
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