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Reviews
Dancer in the Dark (2000)
My heart has been torn from my body
After watching, "Breaking the Waves" I was not sure any other movie could make me feel as strongly about a film as that one did. It took months before I could get Emily Watson's character out of my mind. "Dancer in the Dark" certainly has left an equal if not greater scar in my memory. It may be foolish of me to try and pinpoint exactly what Lars von Trier does that evokes so much emotion from me, but both of these films have left me unable to escape those worlds, more so than most films I have seen. People may criticize his style, his subject matter and ultimately his filmmaking, but I do not support any of those opinions. He is comparable to no other director. His characters are true and real and their emotions are brutally honest. During both films, I was literally left wrenching on the floor in pain, but unable to turn away. This fact alone is reason enough for me to pledge my undying support for this man and his work.
Now then, every character in this film deserves praise, but Bjork's performance is something special. I am once again left bewildered by the pompous and ignorant attitude of the Academy of Motion Picture Arts & Sciences. It was already completely laughable that Julia Roberts' turn as Erin Brockovich was better any ANY REGARD than Ellen Burstyn's Sara Goldfarb. But, that the Academy did not even nominate Bjork??? This performance was not even worth mentioning on this side of the ocean, yet played a HUGE part in this film winning the Palm d'Or at Cannes? I don't necessarily give awards, particularly OscarsT, much merit. I am sure Ms. Burstyn and Bjork did not accept these roles or put what they did into them for the accolades. But it would be nice to believe that certain performances, especially those that require something of the person portraying them, would receive at least a congratulatory show of appreciation from the film community. Bjork deserves praise for what she gave us. She didn't even want to be in this film and what she offers the audience is something, for lack of a better adjective, amazing. I feel for Selma. I want, like Catherine Deneuve's character, to save her. And the conclusion is only that much more powerful after the audience has invested over two hours to her life.
As for the filming itself, I applaud the use of 100 cameras. I applaud Lars von Trier's undying pursuit of some unique way for the audience to experience a film. People can criticize its effectiveness, but not its merit. Though it usually sounds pompous to offer such a word to describe someone's attempts, I think it was a brave choice. He is obviously not afraid to fail and for that reason alone will never have that problem in my eyes.
I wish I could recommend this film to everyone, but I can fully understand that it is not meant for all to see. Those that are willing to succumb fully and totally to the moving pictures brought before you, please do so. It is an emotional trip that you may never experience again. You may love it or hate it, but I cannot imagine you being left indifferent.
Hill Stomp Hollar (1999)
Excellent look at Fat Possum and their musicians
I saw this film at SXSW a few years ago and have desperately tried to find a way to see it again. I am a fan of most of the artists Fat Possum records and this documentary captures them perfectly. I was surprised to learn that the record label was opposed to the film, as I saw nothing in it that seemed derogatory or diminishing towards them in any way. If anyone with the slightest interest in rough, low down dirty blues music happens upon a copy of this film, do yourself the favor of watching it. T-Model Ford is a character that must be witnessed, not told about. And R L is just a legend. I hope there is a way that some day I will have the opportunity to watch this movie again.
Rubin and Ed (1991)
My cat can eat a whole watermelon
This is one of my favorite movies EVER . . . and that is a bold statement. I have shown it to a few people who simply did not understand, so there is the chance that this film is not for everyone, though it should be. Crispin Glover is . . . well, he is Crispin Glover. If you like Crispin at all and have not seen this film, you should first apologize to yourself over and over again for about an hour, then run to a video store that might have this film. I would say, go out and buy this film, but for some WONDERFUL reason, they still want about $100 for the tape. I have already sent a bazillion email requests for the DVD to be made. . . but evidently they are too busy making sure Candyman II is made first. So rent it, watch it, love it, watch it some more and then tell all of your friends, because some day I want to say to someone, "Have you seen Rubin and Ed?" and they smile in recognition of the words that I speak . . . instead of going through a whole lot of "huh" "what" . . . "george mcfly?" . . .