One of the strands running through Carl Th Dreyer’s beautiful drama Michael (1924) is the idea that art can only be truly great when it is animated by love. The artist protagonist Claude Zoret (Benjamin Christensen) struggles to finish a commissioned portrait of a rich countess – his passion project takes his young protégée Michael (a youthful, handsome Walter Slezak) as its model instead. When Michael finishes the portrait for his master, the quality of his work betrays the fact that his own affection has been transferred to the model.
The film’s famous line, “Now I may die content, for I have seen great love” carries this lesson over to the art of living itself. Better to have loved and lost, as the saying goes. It’s a conclusion that recalls the moving speech that caps off last year’s Call Me by Your Name. Far less explicitly than that film, Michael also takes gay love as its subject – a topic dealt with more openly in certain German films of the era (Sex in Chains, Different from the Others). It’s unmistakably a gay story, seen in the 21st century. Perhaps in 1924, some members of the audience might have missed it – although not in the US, where the film was released as The Invert, and not if they were familiar with the author of the film’s source novel Herman Bang, a gay writer who wrote heartfelt stories, largely, it seems, about lonely and unfulfilled women.