Dear Wendy

This flick, with its subtle views on America's obsession with weapons, is likely not going to be a crowd pleaser. One of the main reasons for this is the films use of highly symbolic mise-en-scene takes several viewings to fully appreciate. Another reason for the let down is that some might be inclined to want more action for a movie that centralizes on guns.

However, this movie is brilliant. The shot composition, the editing, the acting-this movie is very well pieced together. Also, as for the meaning of the movie, it goes in a direction that is a really provocative and fresh. I would highly recommend that you give this movie a chance, and keep an open mind. I have never been a fan of the director of this film or the writer, but I was deeply pleased by this film.

While the cinematography was very pleasing to the eyes and the young actors did a commendable job, the story itself leaves something to be desired. Though it starts out with an interesting concept, Dear Wendy winds its way into a ridiculous hole. The "twists" are random and unfounded, probably there for the sole reason of providing conflict. Also, the movie tends to be sluggish: watching for an hour feels like two or three. On the positive side, the young actors did a very good job (for the most part). At times dramatic pauses cause more laughter than thought, but that's difficult to avoid with the script. Eye-catching camera angles were used, along with some interesting techniques. To sum up, the director, cinematographer, and actors are probably usually amazing at their jobs; however, if they enjoy their careers they should stay away from writing like this.

"Dear Wendy" comes from the talents that brought us "Festen" and "It's All About Love" (both written and directed by Thomas Vinteberg), "Dogville," "Dancer in the Dark" and "Breaking the Waves" (written and directed by Lars Von Trier). They have collaborated on Dear Wendy, with Vinteberg at the helm and penned by Trier.

This is my favorite kind of movie; it begins with a "what if..." premise, which the storytellers follow with relentless commitment. In this case, the premise is "what if some misfit kids fell in love with their guns." Well, they'd give them names, they'd practice shooting and have a secret clubhouse, they'd study the famous gun-toting heroes of old, and the relationship they have with their weapons would become a mirror for their relationships with the world. All of which are pursued beautifully in the film.

Quite a few American movie critics read this film as a critique of American society, and they resent a European making a film about small-town America. An oft-vented complaint is that Trier has no business criticizing a country which he's never actually visited. I don't think, however, that this is ultimately a film about guns; the relationship these kids have with their guns is simply a unique window through which the filmmakers have chosen to show us the rich inner lives of the protagonists. They could have used a dysfunctional family (Festen), or movie musicals (Dancer In The Dark) or a tolling church bell (Breaking The Waves) to show us that world - but in this case it's guns.

Within the limits of the film medium - 10,000 words of dialog and around 140,000 frames of film - the choices of the filmmaker often revolve about what to leave OUT rather than what to put IN. This is a film that could be used as a textbook for economists. The script is tight - not a word out of place, although the narration feels conversational and casual. A film about child misfits and their guns could easily follow thematic red herrings all over the place in pursuit of social commentary, but "Dear Wendy" is utterly restrained - in spite of the "loaded" subject matter. On the cutting room floor are social commentary, cliché, and many of the cinematic crutches which Trier and Vinterberg rejected in their Dogme 95 days.

Any film lover who cares to see a film utterly committed to its premise, a film made with economy and efficiency, a film full of sweet irony, a film of deceptive simplicity, would do well to check out "Dear Wendy."

Up for the award for weirdest film I've seen in quite a while. You don't believe me? Okay, the plot revolves around Dick, who seems to have no friends at all and who lives in a small, nameless town in America that is totally centred on working in the mine. He buys a toy gun as a present for someone he doesn't like, but doesn't give it to him. Eventually he discovers that the gun isn't a toy at all, its real. He falls pretty much in love with this gun, names it Wendy, and forms a type of gang; The Dandies, who are pacifists although they do love their weapons.

Obviously, things do not work out well.

The whole style of the film is strange. Virtually all of it is narration, which is then developed in a few conversations or, and for the most part, shown and illustrated through what we see occur. It is also rather on the surreal side. I don't mean melting watches or anything, just, well surreal.

And I really liked it. The detached position the audience is placed in by not being able to engage with any of the characters except through the letters Dick writes/narrates. And the very fact that we're never quite sure what the film is about. Is it anti-gun, or just anti the culture that seems to love guns and violence yet wants to hide it away? Or is it a praise of their idealism? And lets not forget the humour. If you can't laugh at this film I don't think you'll enjoy it.

I saw this movie in France with a large group of friends, something I highly recommend. We all seemed to have a different take on the film and each of us was able to draw something unique from it. Some loved it; some hated it. One of us focused on the powerful characters, another on the coming-of-age aspect, another on the gun control issues, etc. I saw it as a commentary on the power of fear in light of current world events and about how allowing that fear to control your life can ultimately bring about the very tragedy of which you are most afraid.

Dear Wendy certainly lends itself well to conversations that surpass the standard post-movie fare. I am looking forward to it coming stateside so I can see it again with other friends and see what reactions the film provokes in them ...