“The function of prayer is not to influence God, but rather to change the nature of the one who prays.”
– Søren Kierkegaard
“I have prayed and prayed and prayed, Inger.”
Carl Theodor Dreyer’s film Ordet released in 1955 as The Word stands out as a powerful portrayal of faith and doubt in the annals of cinema’s history. One in which Dreyer explores the spaces that exist between these two enduring concepts and sets it all within a quaint Danish village where these contrasting beliefs clash head on. It’s not a tale of skeptics converting into believers or the other way around—Ordet is a subtle and deep cinematic journey that navigates through the delicate interplay of uncertainty and the unwavering yet turbulent embrace of belief on screen. As we watch it unfold, we can get a sense of philosophical connection with the ideas put forth by Søren Kierkegaard (specifically named in the film), Georg Wilhelm Friedrich Hegel, and Paul Tillich all of whom shed light on the intricate balance that Ordet presents at its core.
“I tell you, it’s not enough to have faith if one is not a good person at the same time.”
Danish philosopher Søren Kierkegaard examined the conflict between uncertainty and conviction throughout his life— this foundational theme, which resonates strongly in Dreyer’s film, is infused with his wisdom and perspective on existentialism. Kierkegaard viewed faith not as a leap of faith but as a fervent commitment that demands continuous choosing despite doubts lingering in the mind. To him, faith represented a paradox where one embraces the aspect of believing in miracles while challenging one’s own reason and expectations.
In the films portrayal of Johannes, who is convinced he is Jesus and reminiscent of Kierkegaard’s “knight of faith”, embodies a belief in Gods power that defies rationality despite all odds against it. By depicting Johannes’s beliefs, Dreyer digs into Kierkegaard’s concept of faith as a renewal, amidst uncertainty and the solitude often linked with such a perspective. In the film Ordet, a profound belief that goes against the beliefs of those around Johannes, serves as the trigger for change—a reflection of Kierkegaard’s idea that genuine faith is often found outside the boundaries of logic and comfort.
This concept is reflected in his book, Fear and Trembling when he states, “This is quite as clear to the knight of faith, so the only thing that can save him is the absurd, and this he grasps by faith. So he recognizes the impossibility, and that very instant he believes the absurd; for, if without recognizing the impossibility with all the passion of his soul and with all his heart, he should wish to imagine that he has faith, he deceives himself, and his testimony has no bearing, since he has not even reached the infinite resignation. Faith therefore is not an aesthetic emotion but something far higher, precisely because it has resignation as its presupposition ; it is not an immediate instinct of the heart, but is the paradox of life and existence.”
“This is madness – and yet – what is madness and what is reason?”
In the contextual and philosophical perspective of Hegel, the idea of the spirit adds depth to the exploration of faith within the film’s narrative framework. The idea in Hegel’s philosophy is that history unfolds as the spirit or “Geist” transitions from a concept to a reality. This evolution mirrors the films progression, with its elements following a pattern of Hegel’s dialectical model of thesis, antithesis, synthesis. In the village where traditional Lutheran beliefs clash with perspectives and in particular Johannes’s radical mysticism, a significant divide forms representing a society in a state of uncertainty regarding faiths future direction and resolution. Dreyer navigates through these conflicting ideologies until the spirit, embodied by Johannes, manifests itself in a moment of harmony. It appears as if Hegel’s concept of “spirit” emerges through the blending of these conflicting beliefs rather than viewing doubt and skepticism as adversaries to faith but rather as integral elements to its growth and development. The miracle at the conclusion is not a resolution but a powerful recognition of the spiritual essence intertwined with the physical realm – a symbolic instance that encourages us to perceive faith as an ongoing product of the interplay between conviction and uncertainty.
“I believe a lot of little miracles happen secretly.”
Paul Tillich presents a perspective, on faith as the “concern,” which resonates with how Dreyer approaches belief in Ordet. According to Tillich, faith is more than holding onto beliefs; it’s about embracing what holds the most significance in our lives at a fundamental level. He viewed doubt not as conflicting with faith but, as a part of it—a sign of invested belief. This is highlighted when he states, “The opposite of faith is not doubt – but certainty.” and “In the courageous standing of uncertainty, faith shows most visibly its dynamic character.”, from his book Dynamics of Faith.
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Conclusion
The characters, in Ordet struggle with their fears and sorrow while facing uncertainties that challenge their beliefs and test their faith to its limits. It is through confrontations with doubt that the faith in Ordet finds its meaning according to Dreyer – showcasing that true faith is not about avoiding doubt but about overcoming and rising above it. As we observe closely and reflect upon it further, Tillich’s perspective on faith is not a fixed condition but rather an active journey that requires us to embrace both bravery and openness to ourselves.
In the film Ordet there are no clear cut solutions presented, and no clear preference shown for either reason or belief. It is, in fact, an exploration of both which are eternal and inseparable from one another. The film thus requires our reflection into the complexities of faith as a concept that defies categorization or definitive answer. Kierkegaard, Hegel, and Tillich reveal that faith in Ordet is more than following a set of rules; it is a process of discovery, a back-and-forth journey between visible and tangible evidence. In terms of faith it is the evidence of that which is unseen. This embodies the essence and mystery of faith.
Reading List
Fear and Trembling by Søren Kierkegaard
Phenomenology of Spirit by G.W.F Hegel
Dynamics of Faith by Paul Tillich
