Summary
In a candle-lit parlor where gaslight stutters like a guilty conscience, a dowry-mottled marriage teeters on the brink of annulment: a husband (Aage Fønss) discovers that the dowry money—locked inside a scarred Empire commode—has vanished along with every illusion of middle-class respectability. His wife (Ella Sprange), once the porcelain darling of provincial drawing rooms, now flits through corridors like a moth with singed wings, terrified that the empty drawer will expose not only destitution but the clandestine romance she has kindled with her music teacher (Lau Lauritzen). Into this pressure-cooker of whispered Lutheran guilt steps the husband’s widowed mother (Ingeborg Bruhn Bertelsen), a matriarch who carries ancestral sins in her reticule and who alone knows that the cabinet never contained coin—only a brittle promissory note from 1864, inked by a father who squandered the family fortune on Schleswig rifles. As dawn stains the skylight, three fates intertwine: the cuckolded spouse who rushes to the river with a pistol he cannot cock; the wife who barters her wedding ring for a night ferry ticket yet hesitates on the quay; the matriarch who feeds the cursed IOU to the stove, letting ash rise like a ghost of restructured shame. Carl Theodor Dreyer’s plot is less a moral fable than a slow-motion hemorrhage of nineteenth-century Danish decorum: every door slammed reverberates like a gavel, every silence is a cracked mirror in which bourgeois hypocrisy finally meets its own hollow gaze.
