Dancer
in the Dark (2000)
Ahhh... movies! A film like "Dancer in the Dark" is
one of those astounding, new, inventive, unexpected
and mind- staggering films that pop up every once in
a while to not only give cinema a hard kick in the ass
but also remind broad-minded audiences what it was that
they loved about the artform in the first place.
I've never felt so joyous after watching such a depressing
movie. This film opens up thought on film in a way that
no other film has in aeons. Of course, it's primarily
a film for film fanatics first. Fans of Bjork second.
And, perhaps surprisingly, fans of movie musicals as
well.
"Dancer in the Dark" is, in a way, the first Dogma
95 musical. This is easy to see since it is directed
by one of the founders of the movement, Lars Von Trier.
For those who need a crash course, Dogma 95 was a set
of naturalistic guidelines some predominantly young,
predominantly European, film directors agreed to utilize
in their craft in 1995. Rules included things such as
employing no props that weren't naturally found at a
film shoot's setting and having no establishing shots.
Dogma directors have, generally, also opted for digital
video as their medium of choice. And while "Dancer in
the Dark" is not a strict Dogma film (it doesn't carry
the Dogma seal at it's front), it does work within many
boundaries of the guidelines set forth by the discipline.
It is seemingly shot on video, uses no establishing
shots, contains an almost documentary style of editing
where, presumably much footage was shot and then cut
together almost like a really good home video. This
can be a bit discombobulating at first, what with rapid
cuts and shaky hand-held video camera shots to boot.
But eventually, the complex story helps to divert our
attention away from cinematics.
What "Dancer in the Dark" lacks in Dogma dogmatism
is obvious. It is set in 1964, so it must uses imported
props from that era. It has musical numbers, so some
action is obviously choreographed. And Von Trier has
put his name on the front of the film, a Dogma 95 no-no.
All this may seem like cinematic semantics, but it's
important, especially if you want to truly appreciate
the film. Von Trier has created one of the most unique
and dazzling films of recent memory. The film is so
complex and singular and astounding that it cannot be
explained in mere words.
Von Trier sets up a story so far removed from our
general erudition of movie musicals that we can't possibly
believe that the film will have traditional musical
numbers. And while it doesn't exactly have traditional
music numbers, the music moments that appear in the
film are homages, reflections of just that tradition.
Von Trier creates a new sub-genre of musical here. It's
indescribable. For everyone who ever thought, and most
reflective movie watchers surely have, that musicals
are weird, that the idea of someone just bursting out
into song and/or dance in the middle of a story is just
too unrealistic to be true, Von Trier creates a plot
where this event happening becomes a complex part of
the main character's story and psyche. He creates a
world and a lead character that evolves out of this
idea and brings forth a musical of such depth and breadth
that it overwhelms us. And in this part of the story,
at least, it never seems ham- handed.
What is so extraordinary about this particular theme
of the film is that Von Trier juxtaposes this musical
against one of the most harsh and excessive dramas ever
to be filmed. Now, one of the real problems of Dogma
95 is that it's cinematic rules depend so deeply on
"naturalism," that injecting any plot or drama into
the film becomes obvious and false. This was a particular
problem with the climax of Harmony Korine's 1999 Dogma
outing "julien donkey boy" (sic) and it's somewhat a
problem for Von Trier here. But reflection on this synthesis
of musical and melodrama revels a startling conclusion:
Von Trier must make the dramatics so overwrought here
because it is paramount to understanding the lead characters
love of movie musicals and how this love spiritually
saves her. It's fantastic.
Of course, this being said, one must admit that the
dramatics here are indeed severely overwrought. The
plot is so full of holes that sometimes suspending disbelief
seems an event of Olympic proportions. Von Trier has
so many moments that are so farfetched that it is impossible
to overlook them. And sadly these are the key elements
to the evolution of the story.
Part of the problem here as well is the cast. Much
in the way that I've never felt so joyous after such
a depressing movie, I've never been so convinced that
a cast was truly remarkable and worthy of praise and
yet at the same time have to admit that they were a
tad bit off the mark of perfection. Alt_rocker Bjork
plays the lead, Selma, a Czechoslovakian immigrant who
works at a factory running a metal press. Selma has
poor eyesight, hence one of the connotations of the
title. The singer is in every scene of this nearly 3
hour movie and she is a powerhouse. Without a doubt,
her musical moments are beyond reproach. But often the
script calls upon her to undertake a plot point that
even the most masterful of thespians could not make
work. Von Trier's script is so massive and so epicly
novelesque that it would require an actress with an
encyclopedic range of expressive emotions to be able
to perform here. Bjork comes very close but cannot nail
down the film without leaving some doubts lingering.
Still, coupled with her musical numbers, which are the
most spectacular music numbers filmed in at least 30
years, it is impossible to imagine any other person
being able to do a better job in the lead than she does
here. Catherine Deneuve is also awesome. Yet, at times,
we feel she is caught up in a whirlwind of filmmaking
she does not understand. This is a brand new kind of
film and Deneuve is so entrenched in the past glories
of European filmmaking that we wonder if she was, at
times, a bit lost working with Von Trier. (See notes
below). Yet, again, she is excellent here. David Morse
is called upon to also undertake some plot points that
seem out of any actor's grasp. Again, he does the absolute
best that anyone could do with the material. And on
and on... Yet, the cast here is remarkable. They really
take to this unique film and seem completely resolved
to bringing forth an unprecedented artwork. All of them
should receive accolades for the outstanding performances
that they give. One of the greatest surprises of the
film is the performance turned in by Siobhan Fallon,
a former SNL regular, in the final reels of the film.
A bit about the music: This film musically is Bjork's
all the way. She composed all of the songs on the soundtrack,
including the remarkable Aaron Copeland-esque "Overture"
at the film's beginning. This piece accompanies a really
astounding and curious opening art piece by Von Trier
that establishes a strange and foreboding yet beautiful
mood for the film. (See notes below). The singer's vocals
throughout the film are pure Bjork. She is so singular
and so peculiar that it is impossible for us to forget
that she is Bjork, and not Selma, when she sings. Again,
unfortunately, this can sometimes work against the film.
But the songs here are so perfect and so remarkably
innovative that we can forgive almost anything. Bjork's
songs, like the film itself, are grounded in Dogmatic
reality where the rhythm of natural sounds gently invade
the soundscape and ignite musical moments that are far
more realistic and enchanting than any movie musical
which has ever come before. Bjork has crafted, with
Von Trier, what is perhaps the most engaging, complex,
and devastating beautiful movie musical score that has
ever existed. It's will fill you with awe.
"Dancer in the Dark" is a one-of-a-kind film. If you
are not an brave film lover, if you have no cinematic
sense of adventure, you may find yourself unable to
relax and appreciate this film. It will be far too jarring
for you. But for those with a passion for the new and
creative. Wow! Your eyes will pop. Your ears will pop.
Your mind will pop. Your soul will pop.
Like the best of the eclectic filmmakers of today,
Paul Thomas Anderson, Korine, Lynch, and the others,
Von Trier has set himself on a course to be one of the
most important filmmakers of the coming generation.
Here, deconstructing the movie musical and, in the process,
creating an entirely new and hybrid genre of cinema,
Von Trier continues to establish himself as a filmmaker
to watch and a filmmaker to admire.
Ahhh... movies. Movies. Movies. Movies. Movies. Movies.
When you get to see a movie of this caliber, so fresh,
so astounding, so resonant; it truly makes you appreciate
what a remarkable, brilliant, wondrous and mystical
thing film is. Like a newborn, seeing a film for the
first time, with "Dancer in the Dark, I was born again,
made new again. Baptized in the precious water that
is cinema. The sure test of this: The next day I went
out and immediately bought the soundtrack. And I have
spent more time on this review than any review so far
this year. I can't wait to see "Dancer in the Dark"
again. I can't wait to take my mom to see it.
Notes:
Also with Peter Stormare, Joel Grey, Stellan Skarsgard,
Udo Kier, and Zeljko Ivanek.
Cinematography by Robby Muller.
Some of the songs from "The Sound of Music" are used
in the film. Bjork's acapella version of "My Favorite
Things," a particular standout in the film, is not on
the CD soundtrack, a Bjork album called "Selmasongs."
Von Trier also contributed most of the lyrics in the
film. The song "107 Steps" was originally "141 Steps"
but this was shortened after the premiere at Cannes.
At Cannes, Von Trier won the Golden Palm and Bjork
was named Best Actress.
The opening "Overture" of the film was intended to
be played in dim lighting before the curtains opened.
When Von Trier learned that American cinemas were generally
not equipped for such an event (no curtains, no well-trained
projection staff), he filmed a visual accompaniment
for the songs, a collage of paintings by Pers Kirkeby,
husband of producer Vibeke Windelov.
Filmed in Sweden, Denmark and Seattle, Washington,
USA.
A documentary about the making of the film, which
included footage of a emotionally drained Bjork becoming
increasingly in tune with her character and suffering
breakdowns on the set, was made called "100 Eyes." Bjork
filed suit to stop the film from being released.
Deneuve and Von Trier both spoke of troubles with Bjork
during filming in press conferences. Deneuve: "She cannot
act, she just feels." Added the director, "It was extremely
hard on (Bjork) and extremely hard on everyone."
Bjork began her pop career as the lead singer of a
Icelandic alternative music group called Sugarcubes.
she has numerous solo albums available.
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