Les idiots

While not quite at the same level as _Breaking the Waves_, the only other Lars von Trier I have seen (his films are quite hard to come by in Midwestern American video stores, you understand), _The Idiots_ is still a great film, and, in some ways, is just as important.

I have to comment on a lot of the reviews I've seen for this movie. A lot of viewers judge the film by the theories and views about the group's existence (particularly the view spoken by the most outspoken of the Idiots, Stoffer). This is surely not the way von Trier meant his audience to take the film. If you paid any attention to the film, you'll notice that the Idiots' lifestyle is never glamorized. Everyone's experience in the group ends in embarrassment and despair. You should also note that none of the Idiots has the same opinion of why they like to act the idiot. Stoffer might say that they do it to upset the bourgeosie (I don't pretend to know how to spell that word), but the next person might be doing it just to play around. The artist (whose name escapes me at the moment) is doing it to become a better artist, and the doctor is doing it almost for experiment. There is never a reason for the groups' existence that the entire group agrees upon. This is extremely important for understanding this film.

The way _The Idiots_ particularly hit me was in the characterizations. The actors are so great in this film that they hit the level of: "Is this really acting, or is it just being?" von Trier hit the same level in _Breaking the Waves_. These actors were so good, their characters just jumped out of the script. There are many characters, and only a few of them are characterized in the script extensively. Stoffer, although not the main character, is the most prominent character in the script. Many of the characters don't have all that many lines or screen time, but I felt I knew them all well.

I also appreciated that it actually entertained me. I wasn't expecting to enjoy it so much. It is often very, very funny (if offensive). It also gripped me emotionally. I did not particularly comprehend the ending's meaning, but it left me with a powerful emotion. I did have tears in my eyes when I left the theater, and a lot of thoughts in my head. When a man outside the theater stopped me to ask me how I liked it, my lips and my brain were too dry to actually answer anything but, "I liked it. I liked it a lot." 9/10

At the close of Cannes 2011; Lars Von Trier's reputation as one of the most gifted yet controversial film makers around was firmly intact hitting new levels of outrageousness; however, it wasn't the first time he has managed to get the crowd at arguably the world's most prestigious film festival talking. In 1998 The Idiots aka Dogme #2 made its debut causing mass controversy; mass criticism; and mass discussion.

Naturally for a film which caused such a stir it's an unusual watch. It's a strange sensation to be made to feel uncomfortable yet totally engrossed in a film and stranger still, feeling guilty for enjoying it. The term "guilty pleasure" is usually used to hide embarrassment e.g. captain of the school sports team loves a chick flick; yet here the term really is applicable.

Credit to the cast who participated largely unaware of what the script would demand of them. We are introduced to Karen (Bodil Jørgensen, playing the films and our conscience) who is then caught up in an anti- middle class gang who spend their time in public 'spassing' out; in other words, pretending to be disabled (PC alarm bells ringing from the off then) in order to release their inner "idiots". Rule three of Dogme 95; a hand-held camera, works particularly well; from the off we are thrown right into the heart of the group, we might as well be made to feel as if we are documenting it.

The film certainly makes an interesting comment on how social behaviour can restrict us and, for lack of a better word, the "licence" given to those struggling with mental illnesses to behave more outlandishly. The character's main release is to pose as those without social confinements in public; however the gang eventually do away with only doing it in view of the public eye; is it a hobby or an addiction? Certainly different members of the group enter into it with different motifs and levels of seriousness.

The Dogme 95 movement on the whole polarised audiences so to say that The Idiots; one of the most famous of all Dogme films, will not be to everyone's tastes is an understatement. The actual subject matter will be off putting to some; a topic such as this being played for laughs in certain parts makes for uncomfortable viewing; even more so due to the fact that it is funny. The film also asks the question of how disabled citizens are treated by society; nearly fifteen years on and it isn't hard to imagine people still being perturbed at the thought of allowing mentally disabled yet completely harmless people to walk around their garden.

Throughout the film Von Trier gives us uncomfortable laughs; mocks the middle class attitude to the disabled; and manages to throw in a shockingly graphic orgy. All of this building up to a real emotional sucker punch of a climax. It isn't until the closing scenes that the film stops trying to provoke the audience's brain and instead aims straight for the heart. If nothing else, The Idiots will get you talking; as if Von Trier would have it any other way.

8/10

As a Dane it may be easier to see where Lars Von Trier is coming from with this social criticism (satire of social criticism!) movie.

First of all he comes from a country that prides itself in two traditions:

1. a state that takes care of and cares for everyone

2. a country that has a long tradition of social-criticism in literature and movies

For more than ten years it seemed that every big film project in Denmark had a social agenda...That was probably the only way to get financial support for your film project - which was most of the time, if not all of the time - supplied by the state.

This film is poking fun - primarily - at this social criticism tradition, while it also renews it.

But how much should we take seriously - Lars Von Trier would probably laugh at anyone, who takes this movie at face value - as a bona fide social criticism (which it is not!) and - of course - it fails as traditional "social criticism", just look at it - this is not a film like Pelle the Conquerer, there are no drunken, heavy-set men seducing their underage nieces and abusing the working man sadistically.

In short this movie wasn't meant to succeed in the genre in a traditional sense.

It has a more profound agenda - I have a hard time putting words to it, because what the movie says is so very Danish. Certain scenes are simply great: When they visit the factory and "the idiots" are allowed to turn the machines on and off...I can't explain why that is so intensely funny, but I'm pretty sure it's a Danish thing.

This film is funny, sad, sentimental, wonderfully-acted... It comments on a social-democratic tradition and state that embraces you for better and for worse...It also talks about capitalism in this system...Maybe it's really all about the compromise inherent in a social-democratic tradition existing parallel with a capitalist system. Such a compromise could be viewed as hypocrisy from a philosophical standpoint.

Central to this movie is the theme of honesty and sincerity...And all the while you don't want to take it too seriously, because you have a feeling that the director isn't all that serious about it himself...

In short I find the movie and it's intention irresistibly confusing.

I'm surprised that no one commented on the pseudo documentary's shaky reality as mirroring the problematic reality of the Idiots in the movie. Their attempts to be real idiots so as to appreciate their "inner idiots" parallels the feature film's attempt to mimic the documentary format so as to achieve credibility. By showing the overacting and crew shots in the movie, perhaps it was the director's way of commenting on the the shaky reality of the Idiots existence.

But even though we know that it's a feature film trying to be a documentary, we are still drawn to the vicarious experience of the movie - we still enjoy it as a movie. Perhaps another statement about finding happiness in a fake reality?

Like Idiots, the audience goes into an escaped reality when they go to the cinema, hoping to experience what the protagonists feel on screen. But like the idiots, the denial is only temporary. The final fate of Karen seems to warn the the audience that at the end of the day, this escaped formed of reality is no match to the "real" world that is out there.

Look I know jack about Dogme, but I know what I like and I like 'The Idiots'! A LOT.

I find it hard to understand how so much has been said about the "lack" of production values or the nudity in this movie, which to me aren't even worth mentioning, but hardly anyone comments about how astounding the ACTING is! The actors in this, and in Von Triers' previous 'Breaking The Waves', display completely realistic acting very rarely (if ever!) seen in Hollywood. So next time some Hollywood mediocre "actor" is up on the podium clutching their Oscar, force 'em to watch 'The Idiots' and see if they can pull off performances of this calibre! The "biker scene" in itself is one of the bravest, most funny/scary sequences I've ever seen in all my years of move watching!

While I think all the actors involved are faultless, I would single out Jens Albinus as Stoffer as being particularly outstanding. I hope to see him go on to bigger and better things. I say "better", but you won't find many contemporary movies "better" than 'The Idiots'!