The always provocative Trier strikes again with his second installation of the "Opportunities in America" trilogy initially beginning with Dogville. Those familiar with the Danish director's work and were happy with the style Dogville provided will feel like, despite the changed cast, the sequel has hardly changed a beat since we last left off with Grace and the gang leaving their first location upon introducing the current scenario. Those unaware of the film's unique approach however need be warned: sadly the entire style and substance of this movie is about as "anti-American" as it gets, which I say in sarcasm (despite Trier's obvious contempt) for two main reasons...
For one, on the surface, this movie will offend many people that are even willing to sit through it, yet unwilling to acknowledge the contradictions so beautifully and simply rendered in all of their painful and embarrassing fallouts in this American history lesson via detached, elitist, artistic outsider into the mechanics of slavery. It is this concept of ownership and freedom via the examination of our slave days that really flies in the face of anyone who opts for political correctness and will unwittingly alienate Americans that have certain patriotic blinders on, and justly validate much of what Von Trier is criticizing about us people in the first place, which would be a shame since despite his supreme gift for trying to upset his audience, he really does more good then harm in any of his endeavors thematically, albeit in the most sobering of ways.
For two, the stark minimalism throughout the movie is just too much for most crowds to handle. How this strange little trilogy is being filmed is on one entire black and mostly blank sound stage, with nary a visual clue in sight. Picture going to see a play that did not have any background or any real color at all with just minimal chalk outlines where locations lie, (minus the actual locations themselves-yes they pantomime opening doors!) and you will have a pretty good conceptualization of the production values involved here..None. It is, I'm sure a much debated issue that to me still weighs more in favor of "cmon man, that's bull!", this whole minimalist play to movie vibe. Often I suppose it is justified that the minimalism helps take away distractions, and focuses the extremities of the situations but it always seemed like a contradiction to film this way, I mean why not just do the damn show if that is what it was? At first the idea really grabbed me and I tried to justify it's intent with the slightly more engaging and consistent Dogville, but I guess after I saw Manderlay and realized he's shooting the entire fascinating, sure to be legendary trilogy of American critique this way- as told only by someone so utterly detached from the American experience that his sketches of mentalities elicit equal parts disgust and revelation, I became a little more jaded about the whole thing.
Despite this complete contradiction of a studio film, Manderlay, as any movie scripted by this provocateur, gets by completely fine strictly on it's fascinating script, and should appeal to anyone with half a brain in search of compelling material, but sadly will not. American ranting aside, the film does have it's blemishes, especially when compared to Dogville. For one, the plot and supporting cast are not as consistent and solid throughout, and as much as I love Bryce and felt that she delivered a heartfelt, arresting performance, she really did not have what it takes to etch out the subtle graces of Grace, that Kidman effortlessly pulled off in the first part. Ideally I would like to see a combination of Kidman's subtlety, and Howard's forcefulness to bring out this character's full hue.
Well, you've been warned about not watching unless you are open to appreciating ideas more then actions and items... now go do what is right and truly debate what this movie has to offer with someone you appreciate having an insightful conversation with.
For one, on the surface, this movie will offend many people that are even willing to sit through it, yet unwilling to acknowledge the contradictions so beautifully and simply rendered in all of their painful and embarrassing fallouts in this American history lesson via detached, elitist, artistic outsider into the mechanics of slavery. It is this concept of ownership and freedom via the examination of our slave days that really flies in the face of anyone who opts for political correctness and will unwittingly alienate Americans that have certain patriotic blinders on, and justly validate much of what Von Trier is criticizing about us people in the first place, which would be a shame since despite his supreme gift for trying to upset his audience, he really does more good then harm in any of his endeavors thematically, albeit in the most sobering of ways.
For two, the stark minimalism throughout the movie is just too much for most crowds to handle. How this strange little trilogy is being filmed is on one entire black and mostly blank sound stage, with nary a visual clue in sight. Picture going to see a play that did not have any background or any real color at all with just minimal chalk outlines where locations lie, (minus the actual locations themselves-yes they pantomime opening doors!) and you will have a pretty good conceptualization of the production values involved here..None. It is, I'm sure a much debated issue that to me still weighs more in favor of "cmon man, that's bull!", this whole minimalist play to movie vibe. Often I suppose it is justified that the minimalism helps take away distractions, and focuses the extremities of the situations but it always seemed like a contradiction to film this way, I mean why not just do the damn show if that is what it was? At first the idea really grabbed me and I tried to justify it's intent with the slightly more engaging and consistent Dogville, but I guess after I saw Manderlay and realized he's shooting the entire fascinating, sure to be legendary trilogy of American critique this way- as told only by someone so utterly detached from the American experience that his sketches of mentalities elicit equal parts disgust and revelation, I became a little more jaded about the whole thing.
Despite this complete contradiction of a studio film, Manderlay, as any movie scripted by this provocateur, gets by completely fine strictly on it's fascinating script, and should appeal to anyone with half a brain in search of compelling material, but sadly will not. American ranting aside, the film does have it's blemishes, especially when compared to Dogville. For one, the plot and supporting cast are not as consistent and solid throughout, and as much as I love Bryce and felt that she delivered a heartfelt, arresting performance, she really did not have what it takes to etch out the subtle graces of Grace, that Kidman effortlessly pulled off in the first part. Ideally I would like to see a combination of Kidman's subtlety, and Howard's forcefulness to bring out this character's full hue.
Well, you've been warned about not watching unless you are open to appreciating ideas more then actions and items... now go do what is right and truly debate what this movie has to offer with someone you appreciate having an insightful conversation with.