A critic wrote in "Variety" in 1965: "Theme, with echoes of Ibsen, in its social haranguing for female independence, and Strindberg, in its difficulty in male and female understanding, lends itself admirably to Dreyer's dry but penetrating style. Nina Pens Rode has the right luminous quality for the romantic, uncompromising Gertrud, while the men are acceptable if sometimes overindulgent in their roles." In "Esquire Magazine", Dwight Macdonald wrote that ""Gertrud" is a further reach, beyond mannerism into cinematic poverty and straightforward tedium. He just sets up his camera and photographs people talking to each other." An article in "Cinéma65" wrote that "Dreyer has gone from serenity to senility...Not a film, but a two-hour study of sofas and pianos." In defense of "Gertrud", Dreyer stated that "What I seek in my films...is a penetration to my actors' profound thoughts by means of their most subtle expressions...This is what interests me above all, not the technique of cinema. "Gertrud" is a film that I made with my heart."