Mann beißt Hund

This movie is a piece of art: shocking and disturbing, while at the same time funny as hell in a raw "should-I-be-laughing-or-should-I-be-ashamed" kind of way.

It gives an insight in the very realistically portrayed life of Ben, a serial killer with an impressionable charisma.

Most people who commented on this film either love it or hate it. The division seems mostly geographical though: most Americans can't seem to understand the tongue-in- cheekness of this movie.

Probably it has to do with the fake-documentary nature of the movie, which is clearly western-european. Anyone who has ever seen American documentaries knows they have a different pace and way of treating images. Those who are used to belgian/french/ dutch/german documentaries will recognise the style of the so-called "intimate" documentaries.

The pivotal point is the moment a relationship develops "beyond" the documentary relationship of the filmmakers and their subject (they take Ben's money to finish the movie).

When watching this movie, try to imagine that this *could* be a real movie:

documentaries about terrorists, drugdealers, and even mercenaries (the closest thing to an actual serial killer) have been made, and some of them were very close to their subject.

It is *not* a "black comedy" in the classical sense of the word; more like a "Clockwork Orange" for the nineties. Where "A Clockwork Orange" bathed in the design of the seventies, this movie bathes in the "larger-than-life" invasiveness of modern-day reality-tv-style television. Anyone who has seen shows like "cops" or "Big Brother" will know what I'm talking about. It asks the big documentary question: in how far does the observed change the observer? It makes a statement, not about violence, but about the observer of violence. The way it is portrayed shows the art of the (very low-budget) crew: it grips your guts without fancy effects or gory protrayal of gore: it shows fear, despair and psychological emptyness, by showing emotions! This should be recommended viewing (and debating) to anyone making documentary films.

I'd have to rank this with "Henry, Portrait Of A Serial Killer" as one of the sickest and disturbing films I've ever seen. But like "Henry," it's fascinating.....and certainly different.

It is a fake (thank goodness!) documentary with sleazy cameramen following around a serial killer as the latter murders a bunch of people while spouting philosophy between killings. Some of the demented killer's words are downright funny because of their absurdity. Perhaps that is why this is labeled by some as a black comedy, but this is so dark it is difficult for me to rate this as a comedy, even though it's there.

Most of the killings are not gruesome but there are a few that qualify for that status. They don't dwell on the blood but they don't spare anything in here, either. This film is so strange, so bizarre that one has to see it believe it. That is not just a cliché. You have not seen a film like this: I guarantee it.

A couple of Belgians - Benoit Poelvoorde, Remy Belvaux and Andre Bonzel - did almost all the work on this movie: writing, directing, editing and acting. They were new to the business, had little money and wanted to make a film with those limited resources....and they succeeded very well.

A film crew is making a documentary about Ben, following him around, interviewing him, filming him at work. His job: serial killer. Over time, however, rather than remaining observers of Ben's life and activities the film crew become participants in them.

Absurd, but in a good way. The idea of a serial killer being treated like an everyday person and a documentary being made on his life, and the film crew just watching while he does what he does, and then even helping him in his endeavours, is preposterous. But it works.

Darkly funny but all told in a straight-faced, matter-of-fact sort of way by writer-director-actors Rémy Belvaux, André Bonzel and Benoît Poelvoorde. The film does rely on suspension of disbelief but get past that and it's a hilarious, dramatic, action-packed ride.

Man Bites Dog (C'est arrivé près de chez vous).

To say this movie is disturbing would be an understatement. A massive, gigantic understatement! But it is also a display of film-genius.

The movie is filmed in Black and White and is presented as a "documentary" of a serial killer. The film crew follows Benoit, the killer, around town as he recites poetry, muses on welfare and housing reform, ponders philosophy, and ... well, kills. Totally randomly.

He explains to the film crew the lessons he has learned about killing, how to stay low key, who to go after, and what potential victims are a waste of time. For Benoit, killing is an art form, but not one that should be undertaken frivolously.

There are scenes when his lunacy are briefly pierced by humanity - he counsels one of the film crew not to kill, because once you start it becomes a habit. In another scene he laments having killed a suburban family, because they had nothing good to steal, as it turned out. He proclaims that "there should be a law against" killing for no good reason.

Those who shy from blood and killing - about the most graphical violence you'll ever see "documented" in a film - should shy from this movie. But anyone with an interest in a glimpse at the darkest side of human nature will appreciate this film, not necessarily for its story or its darkness, but for its ability to make us think, and open our eyes to human behaviour we don't like to admit might exist.

During the course of the movie you become totally numb to the act of killing (or maming or torture or rape or any violent crime). It is no longer shocking when he kills yet another victim. It has become commonplace. You just sort of scratch your head and wonder - why this one? why now? why him? why her? This mental numbness is made possible by the way it is filmed - as though it were a documentary. Not long into the movie you begin to wonder if this is real, or just a movie. I wonder if this is the kind of numbness that soldiers experienced in wars like WWI, entrenched and under constant fire - to where the violence around become the norm. I read a book once called "My War Gone By, I Miss it So" (that's a whole 'nother review) in which a war-writer kept returning to the front because after experiencing violence all around him day after day after day, he could no longer live without it. In Man Bites Dog the killing is Benoit's addiction, but we, as viewers become complacent to it. We have been numbed to where it is no longer disturbing. Makes you scratch your head and wonder: is such detachment from emotion and what's right really possible???

To add to the realism, all the actors play characters with their real names. The killer's mother and grandparents in the movie - are really the actor's mother and grandparents in real life. During most of the filming they were not told it was about serial killing, just that they were in a movie with their son. So they just act normal around the son they love, only to find out in later scenes that the whole film is about killing. Imagine the look of shock on their faces to find this out - to them the story then is no longer acting but real: they've just discovered their son/grandson made a film about brutal killings and the shock shows in their faces.

Is it real? Is it a movie? What defines the difference?

When I told him about this movie, a friend mentioned that "society,as a whole, is already numb to brutal killing and violence." He's right about that. But this movie is so ridiculously brutal and violent it is more a mockery of our society's complacence to violence, not an endorsement.

Ben is a charming, witty go-getter fond of architecture, poetry and murder. A brutal serial killer, Ben is followed by a film crew who document his vicious spree of violence and barbarity. Initially they just shoot the proceedings, though as time goes by, the crew begin to take a more active hand, helping Ben torture and maim. Before long, the lines between subject and documenter are irredeemably obscured, with the crew fully in Ben's thrall. Their story escalates to a fever pitch of black comedy and savagery that will leave you thunderstruck in the audacious, wild and original 'Man Bites Dog.'

Written, produced, directed by and starring Benoît Poelvoorde, Rémy Belvaux and André Bonzel, 'Man Bites Dog' is sleek, highly entertaining and not for the faint of heart. Shot on a shoestring budget, the film impresses on every level. The narrative is unpredictable, sinister and full of pitch-black humour and raucous dialogue. So funny the film is, it plays at times like a Christopher Guest led reimagining of 'Henry: Portrait of a Serial Killer,' and is just as strange, dark and comical as that sounds. It is a very clever, frantic and tongue-in-cheek mockumentary that contains some truly unforgettable, uncomfortable moments of violence.

'Man Bites Dog' opens with a frenzied, fiendish murder on a train and never lets up, containing some genuinely distressing sequences that will give one pause. The thesis the filmmakers are operating under seems to be that visual media- television and movies- corrupts and makes complicit its audience in whatever is occurring on screen. The crew following Ben succumb to his wiles and find themselves perverted by his depravity, as do we the viewing audience. We like Ben, despite his cruel and inhuman machinations, therefore are willing participants in his spree of turpitude. It's powerful cinema, with an interesting message at its core.

The bulk of the production was undertaken by Poelvoorde, Belvaux and Bonzel, and their efforts are impressive. A visually arresting watch, 'Man Bites Dog' is shot by Bonzel, and his cinematography is artful and of great clarity. Shot in black and white, the movie has a heady atmosphere that evokes film noir, and Bonzel's work with light and shadows produces some striking results. Not once do the budgetary constraints show through the visuals, and one will assuredly remember the images from 'Man Bites Dog' long after the credits have rolled.

The sound design is also impressive. For whatever reason, oftentimes student filmmakers do far more impactful and interesting work with sound than big studios and Hollywood heads. Think of 'Eraserhead' or 'Tetsuo: The Iron Man,' and how the cranking, wheezing worlds came alive through the sounds of the picture. 'Man Bites Dog' features similarly notable aural design and effects, which adds to the atmosphere and helps legitimize the world Ben traipses through on his intemperate journey. Additionally, the editing- done by Belvaux and Eric Dardill- is swift and intuitive, tying the whole film together nicely and establishing a steady pace, ever building in intensity towards the explosive finale.

'Man Bites Dog' stars Poelvoorde as Ben, serial killer and cultural commentator extraordinaire. His performance is fascinating, commanding and frighteningly hilarious. An arrogant, callous character, Ben is a startlingly realistic cinematic creation: a droll, murdering sociopath who loves the limelight, the sound of his own voice and dominating those around him. Poelvoorde's intense performance is incredible, he makes the character somehow likable and deplorable at the same time, whether waxing lyrical about architecture or discussing how best to drown a dwarf. The film justly kickstarted his career as an actor; as his is a supremely rare and versatile talent put on show to great effect in 'Man Bites Dog.' Though his supporting cast all perform admirably- Belvaux in particular- Poelvoorde towers above them; rendering further comment supererogatory.

'Man Bites Dog' is a brilliant, highly entertaining mockumentary that is original and affecting both. Featuring an unpredictable story, assured and noteworthy visuals and a spellbinding lead performance from Benoît Poelvoorde, the film is anything but ordinary. It is a highly charged, violent film that may not be for everyone, but for those who appreciate the dark and the abstract it's a must watch. OMD once released an album called 'Architecture & Morality'; with 'Man Bites Dog' Poelvoorde, Belvaux and Bonzel have created a fantastic film of architecture and immorality.