I can't say I'm much a fan of Von Trier's films, they really are all done in classic love-it-or-hate-it style, and I would have to count myself in the latter category. But whether you like him or not, it's definitely worth seeing and appreciating his films, and Dancer in the Dark is no exception. It was my first taste of this eccentric Danish director.
Von Trier's direction can best be described as innovative; it's provocative, to a large extent experimental and very very unique. In this film, his hand-held digital camera work, some would argue, is designed to give the whole film a naturalistic look; if the camera moves in the same way that a person would in the situations created, it makes us more involved, captivates us more. I disagree. All it seems to do is make one frequently conscious of what is going on, and for that reason it has, in fact, the opposite effect, makes everything seem artificial. And as such I have a lot of difficulty getting emotionally involved in this film.
Another point worth noting about Dancer in the Dark is that it is a very unconventional musical, as several times the emotions of the characters are illustrated by way of a song. This is because the lead character, played by Bjork, grew up and lived on musicals, because 'nothing terrible ever happens in them'. So therefore despite her disabling disease which rapidly destroys her eyesight, she remains positive by following the time-honoured advice of Julie Andrews et al. by singing to forget one's troubles. The film shows that this doesn't always work. It really does pile on the sorrow and darkness; It is absolutely stocked to the gills with injustice, depression, hopelessness. Obviously this is another reason why it's hard to truly like this film.
Although, despite this difficulty I have relating and enjoying this film, I have to admit it's very good. It really does challenge the viewer, and challenge the film-making world in general. It's obvious to me that Von Trier's major intention in this was to experiment with and bend the rules of genre. In this case, he takes the frankly quite sappy musical genre and laces it with darkness. One clear example is when Bjork is imprisoned for murder and she cheers herself up by singing "My Favourite Things" in a slightly minor key. It gives an almost Joycean quality to Von Trier's harsh appropriation. And the fact is that, given that film is a visual art, if the audience can see what you were trying to do, then you've succeeded. So regardless of whether I like this film or Von Trier himself, he has managed to create a real work of art here.
Finally, one thing you have to say for Lars is that he has an uncanny knack for assembling excellent casts, and doing brilliant things with them. The experimentation and challenging quality of this film would be enough to really rise hatred in me, if it weren't for the cast. Bjork absolutely shines in the lead role. It's the sort of leading performance that nobody could have played better. And not only that but she's almost upstaged by a similarly awesome performance by David Morse. One of the most under-appreciated actors around today, I personally think he gives the performance of his career in this film. He is, to put it simply, perfect in a slightly cruel, embittered but ultimately very sympathetic role. And meanwhile, there is also some further amazing support work from Catherine Deneuve, Peter Stormare and a bunch of Von Trier mainstays Jean-Marc Barr, Siobhan Fallon, Zeljko Ivanek and of course, Udo Kier in a brief but memorable cameo.
Essentially the film is difficult to get into, difficult to enjoy and so easy to detest, but overall an amazing achievement in the world of film-making, and the wonderful cast more than makes up for the otherwise quite alienating direction.
Von Trier's direction can best be described as innovative; it's provocative, to a large extent experimental and very very unique. In this film, his hand-held digital camera work, some would argue, is designed to give the whole film a naturalistic look; if the camera moves in the same way that a person would in the situations created, it makes us more involved, captivates us more. I disagree. All it seems to do is make one frequently conscious of what is going on, and for that reason it has, in fact, the opposite effect, makes everything seem artificial. And as such I have a lot of difficulty getting emotionally involved in this film.
Another point worth noting about Dancer in the Dark is that it is a very unconventional musical, as several times the emotions of the characters are illustrated by way of a song. This is because the lead character, played by Bjork, grew up and lived on musicals, because 'nothing terrible ever happens in them'. So therefore despite her disabling disease which rapidly destroys her eyesight, she remains positive by following the time-honoured advice of Julie Andrews et al. by singing to forget one's troubles. The film shows that this doesn't always work. It really does pile on the sorrow and darkness; It is absolutely stocked to the gills with injustice, depression, hopelessness. Obviously this is another reason why it's hard to truly like this film.
Although, despite this difficulty I have relating and enjoying this film, I have to admit it's very good. It really does challenge the viewer, and challenge the film-making world in general. It's obvious to me that Von Trier's major intention in this was to experiment with and bend the rules of genre. In this case, he takes the frankly quite sappy musical genre and laces it with darkness. One clear example is when Bjork is imprisoned for murder and she cheers herself up by singing "My Favourite Things" in a slightly minor key. It gives an almost Joycean quality to Von Trier's harsh appropriation. And the fact is that, given that film is a visual art, if the audience can see what you were trying to do, then you've succeeded. So regardless of whether I like this film or Von Trier himself, he has managed to create a real work of art here.
Finally, one thing you have to say for Lars is that he has an uncanny knack for assembling excellent casts, and doing brilliant things with them. The experimentation and challenging quality of this film would be enough to really rise hatred in me, if it weren't for the cast. Bjork absolutely shines in the lead role. It's the sort of leading performance that nobody could have played better. And not only that but she's almost upstaged by a similarly awesome performance by David Morse. One of the most under-appreciated actors around today, I personally think he gives the performance of his career in this film. He is, to put it simply, perfect in a slightly cruel, embittered but ultimately very sympathetic role. And meanwhile, there is also some further amazing support work from Catherine Deneuve, Peter Stormare and a bunch of Von Trier mainstays Jean-Marc Barr, Siobhan Fallon, Zeljko Ivanek and of course, Udo Kier in a brief but memorable cameo.
Essentially the film is difficult to get into, difficult to enjoy and so easy to detest, but overall an amazing achievement in the world of film-making, and the wonderful cast more than makes up for the otherwise quite alienating direction.