774 recensioni
The reviews were extremely black and white for this art-house film. People were either enthralled or bored to tears by the whole experience. There seemed to be no middle ground. Now, that's my kind of movie. Any picture that can reap awards (Cannes Film Festival) and get lambasted by the general public at the same time will always pique my interest. In respect, it was a rich, rewarding odyssey, much easier to get through than, let's say, even half of "8½."
My initial respect for the unique, uncompromising style of Danish director Lars von Trier goes back to his compelling work in "Zentropa" and "Breaking the Waves," both bleak, surrealistic studies of man vs. reality. His pieces usually center around some innocent, simple-minded, self-sacrificing soul who inevitably succumbs to the cruelties of life.
I found the central role of Selma (as played by the extraordinary Björk) to be very much the emotional equivalent of Emily Watson's touchingly childlike, near-sociopath Bess in "Breaking the Waves" -- blessed and cursed with a naive, soulful purity. Selma represents one of God's little quirks of nature. A bespectacled, pathetically infantile little ragamuffin completely out of touch, Selma has somehow survived like the runt of a litter would - through luck, will power, and the extreme kindness of those around her. An impoverished Czech-born emigré living in a small Northwestern U.S. industrial town during the mid-60s, this luckless creature manages to eek out a meager Airstream-like existence as a factory worker, despite the fact she is legally blind.
Selma is, amazingly enough, a mother. Seemingly ill-equipped to care for a child much less herself, she has nevertheless managed to provide for the 12-year-old boy, while nurturing the child as a young girl would her rag doll. The fairly adjusted boy suffers, however, from the same optic disease as the mother, while the crux of the story revolves around her attempts to save up money for his inevitable operation.
The fascination of "Dancer in the Dark" lies in Selma's musical world. With her eyesight failing, her ears become the only sense of joy, falling periodically into bouts of fantasy anytime she grabs onto a rhythm or beat (like machine sounds, train engines, etc.), wherein she becomes the star of her own working-class musical production. These compelling sequences become mere extensions of her real-life circumstances, i.e., the musical interludes at work will include the factory itself as a set piece and the other workers as her ensemble. A strange mix of Fellini neo-realism and Busby Berkeley illusion, these daydreams (sparked by Vincent Paterson's inventive choreography and von Trier's purposely puerile lyrics) become her only escape. Björk's odd musical talent and vocal style may be an acquired taste, but she is so mesmerizing here it becomes a non-issue. In addition, there are brief moments of levity as a hopelessly inept community theater production of "The Sound of Music" goes into rehearsals with the very awkward Selma playing Maria.
The subordinate cast is equally in tune. The wonderful, beguiling French star Catherine Deneuve downplays her ethereal beauty as Kathy, Selma's co-worker and trusted friend. And a strange, maternalistic friendship it is indeed, for this woman seems to have no other purpose in life than to be this girl's eyes and hands, looking out for her practically day and night. Peter ("Fargo") Stormare shies away from his ruthless killer image with this touching portrayal of a sensitive, almost pitiable boor who only has eyes for the ungainly Selma. David Morse is gripping as a seemingly compassionate but despairing policeman whose one desperate act involving neighbor Selma results in tragedy. Joel Grey has a brief, telling moment near the film's end as a faded musical star idolized by Selma.
As in his other featured works, von Trier's gritty, hand-held camera work may be dizzying to the point of distraction at first but its overall impact to the stark proceedings is unquestionable. Moreover, the grueling paces he puts his actresses through to achieve absolute truth borders on misogyny but the rewards are tenfold. As in the case of Emily Watson, Björk has never shined brighter as an artist.
A harrowing, refreshingly original piece of filmmaking that should be experienced by anybody who dares to be different.
My initial respect for the unique, uncompromising style of Danish director Lars von Trier goes back to his compelling work in "Zentropa" and "Breaking the Waves," both bleak, surrealistic studies of man vs. reality. His pieces usually center around some innocent, simple-minded, self-sacrificing soul who inevitably succumbs to the cruelties of life.
I found the central role of Selma (as played by the extraordinary Björk) to be very much the emotional equivalent of Emily Watson's touchingly childlike, near-sociopath Bess in "Breaking the Waves" -- blessed and cursed with a naive, soulful purity. Selma represents one of God's little quirks of nature. A bespectacled, pathetically infantile little ragamuffin completely out of touch, Selma has somehow survived like the runt of a litter would - through luck, will power, and the extreme kindness of those around her. An impoverished Czech-born emigré living in a small Northwestern U.S. industrial town during the mid-60s, this luckless creature manages to eek out a meager Airstream-like existence as a factory worker, despite the fact she is legally blind.
Selma is, amazingly enough, a mother. Seemingly ill-equipped to care for a child much less herself, she has nevertheless managed to provide for the 12-year-old boy, while nurturing the child as a young girl would her rag doll. The fairly adjusted boy suffers, however, from the same optic disease as the mother, while the crux of the story revolves around her attempts to save up money for his inevitable operation.
The fascination of "Dancer in the Dark" lies in Selma's musical world. With her eyesight failing, her ears become the only sense of joy, falling periodically into bouts of fantasy anytime she grabs onto a rhythm or beat (like machine sounds, train engines, etc.), wherein she becomes the star of her own working-class musical production. These compelling sequences become mere extensions of her real-life circumstances, i.e., the musical interludes at work will include the factory itself as a set piece and the other workers as her ensemble. A strange mix of Fellini neo-realism and Busby Berkeley illusion, these daydreams (sparked by Vincent Paterson's inventive choreography and von Trier's purposely puerile lyrics) become her only escape. Björk's odd musical talent and vocal style may be an acquired taste, but she is so mesmerizing here it becomes a non-issue. In addition, there are brief moments of levity as a hopelessly inept community theater production of "The Sound of Music" goes into rehearsals with the very awkward Selma playing Maria.
The subordinate cast is equally in tune. The wonderful, beguiling French star Catherine Deneuve downplays her ethereal beauty as Kathy, Selma's co-worker and trusted friend. And a strange, maternalistic friendship it is indeed, for this woman seems to have no other purpose in life than to be this girl's eyes and hands, looking out for her practically day and night. Peter ("Fargo") Stormare shies away from his ruthless killer image with this touching portrayal of a sensitive, almost pitiable boor who only has eyes for the ungainly Selma. David Morse is gripping as a seemingly compassionate but despairing policeman whose one desperate act involving neighbor Selma results in tragedy. Joel Grey has a brief, telling moment near the film's end as a faded musical star idolized by Selma.
As in his other featured works, von Trier's gritty, hand-held camera work may be dizzying to the point of distraction at first but its overall impact to the stark proceedings is unquestionable. Moreover, the grueling paces he puts his actresses through to achieve absolute truth borders on misogyny but the rewards are tenfold. As in the case of Emily Watson, Björk has never shined brighter as an artist.
A harrowing, refreshingly original piece of filmmaking that should be experienced by anybody who dares to be different.
- gbrumburgh
- 30 mag 2001
- Permalink
Why? Because it's a one of a kind movie. The acting is superb (especially Bjork), direction assured and the musical numbers are great. Still, it's the most depressing film I've ever seen. By the end of the film I was crying practically non-stop. It's so bleak I don't think I'll ever see it again, but it should be seen at least once by everybody. It shows misery and suffering full throttle. You'll either love it or loathe it (I'm somewhere in th middle), but you'll never see anything like it again and you won't forget it. Just bring lots of Kleenex.
This is distinguishably different from the general Hollywood films or independent projects. It's not like anything done before. LARS VON TRIER, and BJORK, simply blow your mind away: such totality in delivery!
It's gut wrenching - an absorbing tearjerker - but not sentimental. It is in strong doses. (NFE: it may not be for everyone.) The theatre audience was very quiet with occasional sniffing heard. The film may be a fantasy, yet there are subtle jabs at certain social norms and contains hints at how we treat life and lead life.
Bjork made it natural, innocent, and naively good. It is all Bjork matter: she is feeling all the joy and pain and daydreaming, saying all those words, singing all those songs, and dancing along to the music she so ingeniously composed. Lars von Trier once again wrote and delivered a 100% powerful film. He packs all kinds of emotions into 2 hrs. and 20 mins.: from the endearing friendship of two working women Kathy and Selma; to the faithful loving pursuit of Jeff for Selma; to the quiet exchanges of seemingly trusting souls of Bill and Selma; to Selma's son, Bill's wife, the crime, the court, the prison's loneliness within; the anguish pain of a determined mother; and the integrated mood changing musical numbers in-between. One scene of Bjork lying motionless with just one finger moving with quiet sobbing heard is powerful imagery.
Catherine Deneuve as Kathy is well at ease in her supporting role. She continues to exude her charm quietly. You can tell she thoroughly enjoys the company she's in at this production. Musical-wise, Deneuve is no stranger: besides "The Umbrellas of Cherbourg" 1964 - every word in the film was sung, I also remember Jacques Demy's "The Young Girls of Rochefort" 1967 - she danced and sang with her sister Francoise Dorleac, along with Gene Kelly, Michel Piccoli and George Chakiris.
David Morse as Bill (the policeman and neighbor) reminds me of what a memorable performance he delivered in Sean Penn's "The Crossing Guard" 1995 opposite Jack Nicholson and Robin Wright. 'tis great to see Joel Grey dancing again (hm, in the most improbable setting!)
For a 5' 4'' singer-songwriter from Iceland, Bjork is a giant impact in this quiet powerhouse of a film, "Dancer In the Dark." Lars von Trier's vision and confidence in Bjork truly paid off!
It's gut wrenching - an absorbing tearjerker - but not sentimental. It is in strong doses. (NFE: it may not be for everyone.) The theatre audience was very quiet with occasional sniffing heard. The film may be a fantasy, yet there are subtle jabs at certain social norms and contains hints at how we treat life and lead life.
Bjork made it natural, innocent, and naively good. It is all Bjork matter: she is feeling all the joy and pain and daydreaming, saying all those words, singing all those songs, and dancing along to the music she so ingeniously composed. Lars von Trier once again wrote and delivered a 100% powerful film. He packs all kinds of emotions into 2 hrs. and 20 mins.: from the endearing friendship of two working women Kathy and Selma; to the faithful loving pursuit of Jeff for Selma; to the quiet exchanges of seemingly trusting souls of Bill and Selma; to Selma's son, Bill's wife, the crime, the court, the prison's loneliness within; the anguish pain of a determined mother; and the integrated mood changing musical numbers in-between. One scene of Bjork lying motionless with just one finger moving with quiet sobbing heard is powerful imagery.
Catherine Deneuve as Kathy is well at ease in her supporting role. She continues to exude her charm quietly. You can tell she thoroughly enjoys the company she's in at this production. Musical-wise, Deneuve is no stranger: besides "The Umbrellas of Cherbourg" 1964 - every word in the film was sung, I also remember Jacques Demy's "The Young Girls of Rochefort" 1967 - she danced and sang with her sister Francoise Dorleac, along with Gene Kelly, Michel Piccoli and George Chakiris.
David Morse as Bill (the policeman and neighbor) reminds me of what a memorable performance he delivered in Sean Penn's "The Crossing Guard" 1995 opposite Jack Nicholson and Robin Wright. 'tis great to see Joel Grey dancing again (hm, in the most improbable setting!)
For a 5' 4'' singer-songwriter from Iceland, Bjork is a giant impact in this quiet powerhouse of a film, "Dancer In the Dark." Lars von Trier's vision and confidence in Bjork truly paid off!
This film is brutal, it's not violent, but it's so intense, so sad, so depressing, that I could barely watch it. If you want to cry this film is a must watch. The storyline is fantastic, the cinematography is "cheap" and that makes it artistic. The music was fantastic, sad, creepy, meaningful and it wasn't out of random like in most musicals, here it made sense to exist.
It's one of the best musicals I've ever seen, it's one of the best dramas I've ever seen. It is one of the best films I've ever seen.
It's one of the best musicals I've ever seen, it's one of the best dramas I've ever seen. It is one of the best films I've ever seen.
- Kdosda_Hegen
- 25 lug 2020
- Permalink
- bgatespatch
- 23 mag 2021
- Permalink
It feels awkward to attempt to put Dancer in the Dark into words. Von Trier's film is one of those movies that truly change the way we think about cinema and its possibilities, and for such a film, words do no justice. Dancer in the Dark centers around Selma (Björk), a factory worker, who loves her 10-year-old son above everything else in the world. Selma is a happy, innocent creature who enjoys musicals for "nothing bad ever happens in them". These elements (mother's love for her son, joyfulness of musicals versus the hardships of every day life) create a whole unlike anything ever seen on silver screen. Selma is rapidly losing her eye sight, but not her vision: she's the 'dancer in the dark' who is prepared to sacrifice herself to keep the light in her child's eyes. Very early on it becomes obvious that this story can't have a happy ending. However, once you've accepted it, you can put your mind at ease and see the film as it unfolds from Selma's point of view. And what a view it is! Björk gives a performance of a life time - this little woman with a huge voice is all emotion all the time without ever appearing overtly dramatic or cheaply sentimental. There's no weak link in the rest of the cast either, Peter Stormare as Jeff, Catherine Deneuve as Kathy and Siobhan Fallon as the prison guard to name but a few. The biggest star is still the director himself; von Trier demonstrates his talent in a superb fashion by both telling a simple story that will most likely break you heart and examining the ever-persistent ills of the life of the lower class of the American society. What about the film's musical character then? This is where von Trier triumphs the most by understanding the very essence of the whole genre - hope; hope that will live in our soul for ever if we'll only follow our heart.
- PassPopcorn
- 13 ott 2013
- Permalink
Why discuss the plot of a movie, which is not a movie anyway. Dancer in the Dark is sheer emotion, and the movie can be described in one word: Björk.
If you can stand seeing a person being tormented for more than two hours, you might not shed a tear. I was surprised to find that it was true, what Deneuvre had said, that Björk doesn't play Selma. She is Selma.
Both Björk and her tormenter von Trier deserves all the credit they can get for showing, there is still new ground to break in cinema.
If you want to see a movie, choose something else. If you want art, this is it.
If you can stand seeing a person being tormented for more than two hours, you might not shed a tear. I was surprised to find that it was true, what Deneuvre had said, that Björk doesn't play Selma. She is Selma.
Both Björk and her tormenter von Trier deserves all the credit they can get for showing, there is still new ground to break in cinema.
If you want to see a movie, choose something else. If you want art, this is it.
This is one of the best movies I have ever seen. I was not familiar with the director's previous work, but had picked up the soundtrack by Bjork and was intrigued.
Selma (incredibly portrayed by Bjork) makes the audience laugh and weep simutaneously just by following her heart. Every character is played flawlessly, and the cinemetography is innovative and dynamic. The musical numbers jump to life in a 'colorized' style, emphasizing the break from the dismal reality of Selma's painfully decaying life.
I will say only this. I hate crying at movies. Yet, as I was driving home, mad at the fact that I was still sobbing uncontrollably, I realized how much I loved this movie.
Selma (incredibly portrayed by Bjork) makes the audience laugh and weep simutaneously just by following her heart. Every character is played flawlessly, and the cinemetography is innovative and dynamic. The musical numbers jump to life in a 'colorized' style, emphasizing the break from the dismal reality of Selma's painfully decaying life.
I will say only this. I hate crying at movies. Yet, as I was driving home, mad at the fact that I was still sobbing uncontrollably, I realized how much I loved this movie.
A superb piece of 2000 cinema, and a worth Cannes winner. Bjork is absolutely perfect as the vulnerable but sympathetic heroine. I won't spoil the plot, but you don't expect to end up where the film takes you. There didn't seem to be a dry eye in the house. The music is slightly spoilt by Lars Von Trier's lyrics, but Bjork puts some life into the tunes. This has had an appalling critical response in the U.K. It put me off going for 2/3 weeks. I do feel that Bjork can arouse resentment in people. Perhaps the establishment (French, Walker, Norman etc) needs to go, and be replaced by some fresh blood.
This felt so real. When I watch films these days, I am always watching them with a critical eye for technicality or acting. This film brought me into it's world, the magical world of bjork. Even the musical parts drew me in, because they were so oddly out of place.
I've seen people complaining about Bjork's acting... I honestly haven't felt this emotional over an actors performance in years. And I've seen hundreds of movies this year alone. She made me fall in love, She was innocent, destroyed by the greed of human nature. Honestly, All technical problems aside. I mean the grain was awful, It looks like it was shot with a mini dv camera, and Von trier probably should have hired a camera operator.
This was easily one of my top 10 films I've seen this year.
I've seen people complaining about Bjork's acting... I honestly haven't felt this emotional over an actors performance in years. And I've seen hundreds of movies this year alone. She made me fall in love, She was innocent, destroyed by the greed of human nature. Honestly, All technical problems aside. I mean the grain was awful, It looks like it was shot with a mini dv camera, and Von trier probably should have hired a camera operator.
This was easily one of my top 10 films I've seen this year.
- drewmcleod9
- 22 dic 2012
- Permalink
This is quite possibly the most moving film I've seen, it ensnares you within the first minute, or Bjork does with her interpretation of the sound of music, which is both hilarious and introduces one of the main themes: the magic of musicals. Not one of my favourite genres (but everyone loves The Sound Of Music, right?) but Lars Von Trier makes you re-evaluate your perception with a gentle loving pastiche of the way for no reason people and things in musicals spontaneously erupt into song, made more credible in this film by implicating a reason for it: Bjork's character is going blind so she hears music in the slightest thing and she, in her mind, sees how moves should be choreographed with the music she hears, reminiscent of her own It's Oh So Quiet' music video. And the best thing about this film is the way Bjork charms you with her portrayal of the nicest person in the world, she will do anything for you if she could. She is essentially an innocent and though this is her weakness you can't help but love her all the more: a sparkling performance from a unique singer in real life.
However from this don't assume that this is a light happy film as there is a dark tragic side also, and this side is full of injustice, agony- and I mean agony-, sorrow- like you'd not believe-, and an intense emotional pull as I've ever felt in a cinema before, and it's this half that propels it from being just a great film to becoming one of the greatest. Its greatness is in telling a simple story of a woman trying to stop her own genetic sight disorder afflicting her son, by working every hour to afford the operation, working heavy machinery despite essentially being virtually blind, its greatness is its ability to inflict upon you the gift of feeling every conceivable emotion you posses and you do, you really do experience so much during this film. But I'll not say too much as my enjoyment of this film increased due to, for a change, not second guessing what would happen but to just let it be, I would say to passively watch but there's nothing passive about this film. It really moves you. It makes you feel alive.
This film should be seen alone, in the quiet when you are all by yourself, but more importantly than that it should be seen: this is more than mere movie this is art this is real this is the greatest film I have ever seen: even better than Casablanca, and Shadowlands, and The Piano.
However from this don't assume that this is a light happy film as there is a dark tragic side also, and this side is full of injustice, agony- and I mean agony-, sorrow- like you'd not believe-, and an intense emotional pull as I've ever felt in a cinema before, and it's this half that propels it from being just a great film to becoming one of the greatest. Its greatness is in telling a simple story of a woman trying to stop her own genetic sight disorder afflicting her son, by working every hour to afford the operation, working heavy machinery despite essentially being virtually blind, its greatness is its ability to inflict upon you the gift of feeling every conceivable emotion you posses and you do, you really do experience so much during this film. But I'll not say too much as my enjoyment of this film increased due to, for a change, not second guessing what would happen but to just let it be, I would say to passively watch but there's nothing passive about this film. It really moves you. It makes you feel alive.
This film should be seen alone, in the quiet when you are all by yourself, but more importantly than that it should be seen: this is more than mere movie this is art this is real this is the greatest film I have ever seen: even better than Casablanca, and Shadowlands, and The Piano.
- Pseudo-geordie boy
- 9 nov 2000
- Permalink
Saddest movie i've ever seen. I almost never cry in films, but this one made me feel so.. empty. I connected with Björk's character and i empathized as never before. Their songs are so wonderful and perfect to the film, comparing her naïve and romantic personality, to the sad, cruel and sorrowful reality. The contrast is so intense...
The last scene is so damn sad. There wasn't necessary to sacrifice the most heartbreaking and beautiful character i've ever seen, this shows there's no limit to the love of a mother. I seriously don't have enough words to describe how this film made me feel, it's not easy found a masterpiece like this, instead of a lot of FX, explosions and butts who their only objective is selling, this movie is... pure emotions. Humanity.
The last scene is so damn sad. There wasn't necessary to sacrifice the most heartbreaking and beautiful character i've ever seen, this shows there's no limit to the love of a mother. I seriously don't have enough words to describe how this film made me feel, it's not easy found a masterpiece like this, instead of a lot of FX, explosions and butts who their only objective is selling, this movie is... pure emotions. Humanity.
- briefexistance
- 9 dic 2014
- Permalink
I admit I had to watch this a few times, the music is intriguing and ethereal, but the story seems on a parallel universe of strange, then scary, then a form of horror. But also a story of hope, which is to say, its confusing.
Basically Selma is a Czech immigrant who wants to find a life for herself, she has a secret in that her disease causes her to become at first near-sighted and myopic, she then is nearly blind.
She does not live a pretty life, works in a factory but finds that the machines are rhythmic, and as she also enjoys old musicals from the 40's and 50's this is her form of escape. This is the better part of the story, her spirit and how she endeavors to survive.
I am not a major fan of Bjork but I do like her voice and she is very affecting here, I think I had seen a very odd documentary about her made early in her career.
Am wondering what she is doing lately, as this film is well-acted and she portrays the sad and eventually discarded Selma, in a very convincing yet not trite manner. Good performances also with David Morse, Cara Seymour, Peter Stormare and the always beautiful Catherine Deneuve. 9/10.
Basically Selma is a Czech immigrant who wants to find a life for herself, she has a secret in that her disease causes her to become at first near-sighted and myopic, she then is nearly blind.
She does not live a pretty life, works in a factory but finds that the machines are rhythmic, and as she also enjoys old musicals from the 40's and 50's this is her form of escape. This is the better part of the story, her spirit and how she endeavors to survive.
I am not a major fan of Bjork but I do like her voice and she is very affecting here, I think I had seen a very odd documentary about her made early in her career.
Am wondering what she is doing lately, as this film is well-acted and she portrays the sad and eventually discarded Selma, in a very convincing yet not trite manner. Good performances also with David Morse, Cara Seymour, Peter Stormare and the always beautiful Catherine Deneuve. 9/10.
- MarieGabrielle
- 17 mar 2011
- Permalink
This film was brilliant. Realistic acting like this is only possible through the incredibly charged conflicts onset. The reason why this movie captures such a tragic element is due to the torture it was to get everyone to work together. Only comparable to the raw emotions of movies like The Shining and other classics that required an almost unethical amount of stress to create. Warning that this movie is emotionally disturbing in a violent sort of way which may not be tolerable by some viewers.
- data_over_dogma
- 7 set 2020
- Permalink
When I was driving to see this movie, I wondered how I was going to react to the film. Lars Von Trier had always been one of my favorite directors, but I was unsure if I was going to enjoy this film. After watching the film, I half to say that this was one of the best films I had ever seen. Lars von Trier used handheld cinematography perfectly and I was especially impressed by how he operated the camera himself. Also the way he used lighting and still cameras in the music sequences expressed the surreal daydreams of Selma.
Selma, played by Bjork, is a strong willed yet kind character who is hit by a series of bad events. Bjork plays this role so convincingly it is almost uncomfortable to watch. She doesnt act more than emote the character.
With Lars Von Trier directing and great acting, this is far and away the best film of the year. Its unfortunate that America didn't give the recognition the film deserved.
Selma, played by Bjork, is a strong willed yet kind character who is hit by a series of bad events. Bjork plays this role so convincingly it is almost uncomfortable to watch. She doesnt act more than emote the character.
With Lars Von Trier directing and great acting, this is far and away the best film of the year. Its unfortunate that America didn't give the recognition the film deserved.
Dancer in the Dark is the optimum anti-musical, juxtaposing the amateur aesthetic of the Dogme 95 movement against song numbers that are clearly color-corrected, shot with tripods, and otherwise more artificial than anything Dogme, centering around a sensational performance by Björk, as a Czechoslovakian immigrant who suffers for her altruism; a youthful innocence in the body of a tormented adult who enters the unrealistic world of movie musicals when she needs to flee. The music, naturally, is composed and sung almost entirely by her - and what music it is!
Though I have not yet seen all of them, Dancer in the Dark is very possibly the most genuinely good film from Danish provocateur Lars von Trier. While I admire or "appreciate" films like Antichrist and Melancholia for how they make me squirm and despair, it is easier to connect with the story and characters of Dancer in the Dark. Its unconventional choices in terms of style also make sense - mainly in regards to what I mentioned earlier about the overall "Dogme" look versus the production of the musical numbers - as opposed to those of Nymphomaniac, made at a point where Von Trier became too full of himself and did as he pleased.
My favorite creation of Von Trier's is his cult classic mini-series Riget (or The Kingdom for you non-Scandinavians), which is strange in ways more genuine than "I wish to be artsy and different". It is also the basis for Stephen King's decidedly less fascinating 2006 remake Kingdom Hospital, but these are all stories for another day.
Today's story is of Selma (Björk), a migrant in 1960's Washington State, who saves every penny she can of her income to pay for her son's operation, meant to rid him of the same illness that is presently turning her blind, a fact which she refuses to reveal. She lives on the property of an unhappy policeman (David Morse), is stalked by a local simpleton (Peter Stormare), and finds her only real friend within her colleague Kathy (Catherine Deneuve). Joel Grey also turns up as a fictionalized version of Oldrich Nový, one of Selma's idols, and what would a Von Trier film be without Udo Kier - the Murray to his Wes?
As her sight worsens, Selma pays more and more attention to the noises around her - the clatter-crash-thump of the machines she operates and the trains that pass - and discovers music, prompting her to envision song-and-dance sequences that, as mentioned, are shot, coordinated and colored quite differently than everything else (though still oddly framed at times, as with one number that was filmed on/around a moving train, on which several cameras were mounted and cut between in real-time, more or less). This is consistent with the Björk of the real world; finding all sorts of wonderful little details within the mundane.
When I recommend Von Trier's early work to friends, I often warn that his style takes some getting used to, and Dancer in the Dark will look unattractive to most. Another thing that possibly detracts would be Peter Stormare's singing voice during the Oscar-nominated "I've Seen It All", which was wisely replaced by that of Thom Yorke when Björk released her Selmasongs album. This was also the song that made Björk appear at the Oscars with that wonderful swan dress of hers, the most entertaining thing she's done since attempting to explain her TV.
All Peters aside, the music is hauntingly strange and flawlessly performed. After I finally watched the film, as I was advised to do by the Sardonicast crew in preparation for their next episode, it stayed on my mind for days to come and Selmasongs dominated my Spotify queue. Björk is often classified as avant-garde, experimental and electronic, hence it is surprising I haven't listened to the Icelandic treasure much yet.
Dancer in the Dark is outstandingly well-thought-out in just about every category; its song sequences make more sense than those of most musicals, the unconventional stylistic choices make more sense than those of many Von Trier films, and the songs are cleverly inspired by everyday noises. It's a devastating tale of a selfless person (hence its inclusion in the Golden Heart trilogy) and the world she retreats into until, perhaps, she learns it wasn't all hopeless.
Discussing Von Trier recently, I was told of how tiresome movies of misery and cruelty can be, especially when there is enough to go around in the real world. Dancer in the Dark is not cruel without purpose, arguably unlike the sulky Von Trier of today, and it does not end on an entirely pessimistic note. Even so, it might also make the case against the escapism you may find in a conventional, magical musical with a cheerful ending (not that every musical has this).
I like miserable movies, as they tend to be the most profound and challenging, but I like happy movies too, for surely obvious reasons. Dancer in the Dark, in a way, manages both.
Though I have not yet seen all of them, Dancer in the Dark is very possibly the most genuinely good film from Danish provocateur Lars von Trier. While I admire or "appreciate" films like Antichrist and Melancholia for how they make me squirm and despair, it is easier to connect with the story and characters of Dancer in the Dark. Its unconventional choices in terms of style also make sense - mainly in regards to what I mentioned earlier about the overall "Dogme" look versus the production of the musical numbers - as opposed to those of Nymphomaniac, made at a point where Von Trier became too full of himself and did as he pleased.
My favorite creation of Von Trier's is his cult classic mini-series Riget (or The Kingdom for you non-Scandinavians), which is strange in ways more genuine than "I wish to be artsy and different". It is also the basis for Stephen King's decidedly less fascinating 2006 remake Kingdom Hospital, but these are all stories for another day.
Today's story is of Selma (Björk), a migrant in 1960's Washington State, who saves every penny she can of her income to pay for her son's operation, meant to rid him of the same illness that is presently turning her blind, a fact which she refuses to reveal. She lives on the property of an unhappy policeman (David Morse), is stalked by a local simpleton (Peter Stormare), and finds her only real friend within her colleague Kathy (Catherine Deneuve). Joel Grey also turns up as a fictionalized version of Oldrich Nový, one of Selma's idols, and what would a Von Trier film be without Udo Kier - the Murray to his Wes?
As her sight worsens, Selma pays more and more attention to the noises around her - the clatter-crash-thump of the machines she operates and the trains that pass - and discovers music, prompting her to envision song-and-dance sequences that, as mentioned, are shot, coordinated and colored quite differently than everything else (though still oddly framed at times, as with one number that was filmed on/around a moving train, on which several cameras were mounted and cut between in real-time, more or less). This is consistent with the Björk of the real world; finding all sorts of wonderful little details within the mundane.
When I recommend Von Trier's early work to friends, I often warn that his style takes some getting used to, and Dancer in the Dark will look unattractive to most. Another thing that possibly detracts would be Peter Stormare's singing voice during the Oscar-nominated "I've Seen It All", which was wisely replaced by that of Thom Yorke when Björk released her Selmasongs album. This was also the song that made Björk appear at the Oscars with that wonderful swan dress of hers, the most entertaining thing she's done since attempting to explain her TV.
All Peters aside, the music is hauntingly strange and flawlessly performed. After I finally watched the film, as I was advised to do by the Sardonicast crew in preparation for their next episode, it stayed on my mind for days to come and Selmasongs dominated my Spotify queue. Björk is often classified as avant-garde, experimental and electronic, hence it is surprising I haven't listened to the Icelandic treasure much yet.
Dancer in the Dark is outstandingly well-thought-out in just about every category; its song sequences make more sense than those of most musicals, the unconventional stylistic choices make more sense than those of many Von Trier films, and the songs are cleverly inspired by everyday noises. It's a devastating tale of a selfless person (hence its inclusion in the Golden Heart trilogy) and the world she retreats into until, perhaps, she learns it wasn't all hopeless.
Discussing Von Trier recently, I was told of how tiresome movies of misery and cruelty can be, especially when there is enough to go around in the real world. Dancer in the Dark is not cruel without purpose, arguably unlike the sulky Von Trier of today, and it does not end on an entirely pessimistic note. Even so, it might also make the case against the escapism you may find in a conventional, magical musical with a cheerful ending (not that every musical has this).
I like miserable movies, as they tend to be the most profound and challenging, but I like happy movies too, for surely obvious reasons. Dancer in the Dark, in a way, manages both.
- TheVictoriousV
- 16 giu 2020
- Permalink
I am a follower of von Trier but this is one film I felt no great urge to see for two reasons:- 1/ I hate musicals - nothing spoils my involvement in a story more than all the characters suddenly breaking character to go into a song & dance routine. 2/ Placing a pop singer in the lead role strikes me as farming off the celebrity value, only necessary when the script is poor enough to need a helping hand. Surely, a trained and experienced actor would do a better job. So I haven't bothered with 'Dancer in the Dark' until now. What an idiot I was.
Bjorks acting did seem a bit amateurish for the initial twenty minutes or so, but I urge you to bear with this. This may have been a directorial device to hook you into the simplicity of her character because as the plot develops she renders a character as strong as any. If you are not totally with Selma as the film build to its climax the you must be an unempathic & heartless person not to be touched by Bjorks powerful rendition of this character. A proper actor could have done as well but not by much. However, a proper actor however could not have done the songs, yep, you read right - this musical hater is about to praise the song & dance routines.
For the first two songs I was thinking 'Oh no, get on with it' while waiting painfully for them to end. But during the third something had changed, I began to realise these song & dance routines weren't a break in the plot sequence but were a significant part of it. They were Selmas trips into 'Wonderland', how she managed to cope with a very tough life. I might say that Bjorks songs were more in the line of being arias than musical numbers except this is no opera. The 'musical numbers' definitely added to the films impact.
Also, von Trier seems to have a penchant to throw shock 'gimmick's in his films, such as the hard core scene in 'The Idiots or the emasculation in 'Antichrist'. Thankfully, in this film he just lets the script, direction & Bjorks rendering of the lead character do all the work. The result of these three factors working together left me totally knocked out. After the last scene there was absolutely nothing I could do except sit through the credits in a state of gobsmacked-ness while Bjork sang me back to the real world.
Other actors also put in very creditable performances. Catherine Deneuve did well and Siobhan Fallon came through very strongly while highlighting Bjorks character.
So now I realise - my bigotry has had me missing what is possibly von Triers greatest film.
Bjorks acting did seem a bit amateurish for the initial twenty minutes or so, but I urge you to bear with this. This may have been a directorial device to hook you into the simplicity of her character because as the plot develops she renders a character as strong as any. If you are not totally with Selma as the film build to its climax the you must be an unempathic & heartless person not to be touched by Bjorks powerful rendition of this character. A proper actor could have done as well but not by much. However, a proper actor however could not have done the songs, yep, you read right - this musical hater is about to praise the song & dance routines.
For the first two songs I was thinking 'Oh no, get on with it' while waiting painfully for them to end. But during the third something had changed, I began to realise these song & dance routines weren't a break in the plot sequence but were a significant part of it. They were Selmas trips into 'Wonderland', how she managed to cope with a very tough life. I might say that Bjorks songs were more in the line of being arias than musical numbers except this is no opera. The 'musical numbers' definitely added to the films impact.
Also, von Trier seems to have a penchant to throw shock 'gimmick's in his films, such as the hard core scene in 'The Idiots or the emasculation in 'Antichrist'. Thankfully, in this film he just lets the script, direction & Bjorks rendering of the lead character do all the work. The result of these three factors working together left me totally knocked out. After the last scene there was absolutely nothing I could do except sit through the credits in a state of gobsmacked-ness while Bjork sang me back to the real world.
Other actors also put in very creditable performances. Catherine Deneuve did well and Siobhan Fallon came through very strongly while highlighting Bjorks character.
So now I realise - my bigotry has had me missing what is possibly von Triers greatest film.
The film is a 100% tragedy, and the music doesn't make it merrier. Not only it is too sad, but also lacks basic realism. I mean, who wouldn't pay 2000 bucks for a friend's life? How stupid can a lawyer be, and how stupid the jury can be when they see that bjork, having no motive for the murder, is so confused and lies about everything?
If the tragedy was more real, maybe after watching the film we could have atleast come to conclusions about the crueleness of the world, and perhaps even had ideas about changing it. But since the probability of this story becoming a true story is so small, and its a pure luck to meet so many cruel people at once, the film granted me no new insight, exactly what a serious tragedy like this must grant as a payment for the sorrow of watching such a depressing movie.
If the tragedy was more real, maybe after watching the film we could have atleast come to conclusions about the crueleness of the world, and perhaps even had ideas about changing it. But since the probability of this story becoming a true story is so small, and its a pure luck to meet so many cruel people at once, the film granted me no new insight, exactly what a serious tragedy like this must grant as a payment for the sorrow of watching such a depressing movie.
- scooter-78
- 8 ago 2003
- Permalink
Dancer in the Dark haunted me. This film was an amazing view into the human mind as well as a tragic story of hopeless hope, betrayal by others, and still remaining true to yourself. Bjork produces an inspirational performance, of which one would never think she is not primarily an actress. Some of her moments in this film bring you to tears with their absolute honesty. The ensemble cast are a godsend as well. Peter Stormare, Catherine Denevue, and David Morse in particular. Morse, playing the most varied and difficult character, succeeds with apparent ease. The only complaint I had of the film is that it was slightly drawn out and slow paced. However, it is still spiked with moments of surprise that knock you so hard, you are pulled back in immediately. With an incredible closeness to these people, Dancer in the Dark will make you think and stretch your emotions to the limit.
Dancer in the Dark confirms Lars Von Trier's status as a talented director.It is for the first time that he has worked on a musical genre film and has succeeded in infusing dramatic elements into it.His film is a boon for those film enthusiasts who would like to have tears roll down their eyes while humming a couple of nice songs.Some of this film's major themes have a direct bearing on the quintessential American dream.This has been highlighted by showing the hapless plight of an immigrant woman from Eastern Europe whose sad story reveals the victory of evil over good.A major problem of this film is its casting which is just on an above average level as some of the most talented actors like Jean Marc Barr and Catherine Deneuve have largely been ignored.They have nothing more than supporting roles to take care of.This is the reason why they appear as long lost souls.As it is a Dogma 95 film,one should not feel bored if there are irregular,unruly camera movements.They have been wisely introduced to create a sense of heightened tension in the film.
- FilmCriticLalitRao
- 23 feb 2009
- Permalink