Following the fall of House Atrides on Arrakis in the hands of House of Harkonnen, the film follows the aftermath in which Paul Atrides (Timothee Chalamet) and his mother Lady Jessica (Rebecca Ferguson) join the Fremen in an act to reclaim the planet with other allies while also uncovering a conspiracy involving the Emperor Shaddam IV as well as revelations about Paul’s roles for the Fremen. It is a film that explores a young man who doesn’t just deal with loss but also a role that he is unprepared for as some see him as a messiah that would help the Fremen but the forces that oppose him become more uneasy as the Emperor as well Baron Vladimir Harkonnen (Stellan Skarsgard) deal with what he might bring. The film’s screenplay by Denis Villeneuve and Jon Spaihts definitely plays into Paul Atrides’ reluctance to be the messianic figure but also visions that he keeps seeing as he struggles with what might bring and such with his mother believing in this prophecy about Paul as she is also pregnant as she would rise into power of her own.
The first act plays into the Atrides being invited to the Fremen by its leader Stilgar (Javier Bardem) despite the fact that they’re outsiders yet Stilgar sees Paul as someone who could be this figure that could lead the Fremen into reclaiming control of Arrakis based on a prophecy that he believes in as Lady Jessica chooses to play into it when their ailing reverend mother is asking Jessica to replace her. Upon drinking the Water of Life, Jessica awakens her unborn daughter Alia whom she would communicate with as they decide to play into the prophecy and win over skeptics giving Stilgar more allies despite the skepticism of Chani (Zendaya) who believes that the prophecy is a lie created by religious fanatics. Still, Chani helps Paul in teaching him the way of the Fremen as they become lovers though Paul remains troubled by visions about him being this messianic figure while he helps in the rebellion against the Harkonnen who would be overwhelmed once Paul’s mentor Gurney Helleck (Josh Brolin) joins the fold having become a smuggler.
The second act serves as an introduction to the baron’s nephew Feyd-Rautha (Austin Butler) whom the baron would bring in to replace his older brother Glossu Rabban (Dave Bautista) who had failed to keep spice production going on due to the Fremen. Feyd-Rautha is a psychotic figure that proves to be just as dangerous as both his brother and uncle as he is observed by a Bene Gesserit maiden in Lady Margot Fenring (Lea Seydoux) for the Reverend Mother Gaius Helen Mohiam (Charlotte Rampling). It is in the second act where Gurney is re-introduced as he would learn about Paul’s actions as he joins the Fremen despite not believing in the prophecy as Paul becomes more troubled by the expectations of the Fremen just as the conflict with them and the Harkonnens intensify due to Feyd-Rautha’s new leadership. Paul would learn about the Emperor’s involvement as Princess Irulan Corrino (Florence Pugh) believes that Atrides is alive as she begins to question her father’s motives into the attack of House Atrides. It would all lead to revelations in its third act as well as a lot of political scheme and fanaticism with Chani becoming more troubled into the role that Paul has to play.
Villeneuve’s direction is grand in the way he presents this world of intergalactic conflict with a planet filled with sand as spice being the center of the universe as well as the source of this conflict. With scenes of Arrakis shot on location in Jordan and Abu Dhabi with additional scenes shot on location in Budapest, Villeneuve opens with Princess Irulan narrating about the events in her journal as she sees her father becoming troubled by what happened although the princess believes that Paul Atrides is alive. Much of Villeneuve’s direction includes a lot of wide and medium shots to play into the scope of the locations as well as maintain a sense of intimacy in scenes involving character interaction. Yet, the caverns, mountains, and cliffs do serve as major characters as it is a place where the Fremen live in hiding with a pool of water filled with the Fremen who have died. Villeneuve brings a sense of intrigue as well as the world that explore those who believe in this prophecy that Lady Jessica would exploit upon drinking the Water of Life as her unborn daughter would help play into this exploitation as she would later appear as an adult in one of Paul’s visions.
The dreams that Paul would have are these abstract and surreal visuals that showcase not just Paul’s fears of the future but also what it could be as it all plays into his reluctance into being this messiah for the Fremen. While Lady Jessica would able to get the reach of fanatical fundamentalists to support Stilgar’s cause against the Harkonnens and the emperor, Villeneuve does reveal a whole lot more as it plays into the fallacies of power with the emperor becoming someone who is losing influence on all of these houses as it becomes a source of contention he would have towards House Atrides. Villeneuve also plays into this sense of thrill as it relates to the sandworms that the Fremen are known for riding as it is something Paul would master and gain the respect of the Fremen as he would also learn how to travel towards south of the planet as it is a place that the Harkonnens couldn’t reach because of its sandstorms. Villeneuve also plays into this intrigue into the introduction of Feyd-Rautha as well as the Harkonnens’ home planet where it is shot largely in black-and-white as it is a stylistic choice but one that showcases why the baron favors him.
The film’s third act is about this eventual confrontation between the Fremen against the Harkonnens and the forces led by the emperor as the latter two would be unprepared for what they would face. Yet, there is a lot more happening as the Harkonnens meet with the emperor as there is not only this power struggle between the two but also other things that the princess would discover that would make her uneasy over this conflict. Even as the climax that involves Paul confronting his enemies as it would also lead to some uneasy compromises that would affect many as it also plays into what power corrupts and how those who engineer schemes and conspire are forced to watch their own fallacies but also face the actions of something much bigger that they unknowingly played a role in. Overall, Villeneuve crafts a riveting and astronomical film about a young man seeking revenge as well as becoming a messianic figure for a group of people in reclaiming their home planet.
Cinematographer Grieg Fraser does incredible work with the film’s cinematography from the stylish usage of black-and-white for the Feyd-Rautha fight at the Harkonnen’s home planet to the usage of sunlight for many of the exteriors and scenes in the cave along with usage of available light for some of the scenes in the morning as it is a highlight of the film. Editor Joe Walker does brilliant work with the editing with its stylish usage of jump-cuts, slow-motion, and rhythmic cuts to play into the suspense and action as well as some of the surreal montages in the film. Production designer Patrice Vermette, with supervising art director Tom Brown plus set decorators Zsuzsanna Sipos and Shane Vieu, does amazing work the look of the water pool inside the Fremen’s cave as well as the home of the fundamentalists and the design of the places at the Harkonnen home planet. Costume designer Jacqueline West does excellent work with the costumes from the ragged and sandy clothes that the Fremen wears as well as the clothes that Lady Jessica wears when she becomes a Reverend Mother for the Fremen and the clothes of Princess Irulan.
Hair/makeup/prosthetics designer Donald Mowat does fantastic work with the look of the Harkonnens in their pale-white skin as well as the makeup that Lady Jessica wears as the Reverend Mother. Special effects supervisor Gerd Nefzer and visual effects supervisor Paul Lambert do sensational work with the visual effects in the design of the sand worms in using prosthetics and CGI as well as the design of some of the weapons used in battles as well as the devices for Baron Harkonnen as he floats. Sound editor Richard King and sound designer Dave Whitehead do phenomenal work with the sound in the way some of dialogue is presented in Paul and Lady Jessica communicate in silence as well as the effects for some of the devices as well as the way the sand worms emerge as it is a highlight of the film. The film’s music by Hans Zimmer is tremendous for its usage of bombastic orchestral arrangements along with synthesizers and snarling guitars as it adds to the sense of chaos throughout the film that also include these wailing vocals that features work from Lisa Gerrard of Dead Can Dance while music supervisors Peter Afterman, Deric Berberabe, Alison Litton, and Carmen Murlaner add some ambient and electronic pieces as the whole music soundtrack and score is another highlight of the film.
The casting by Francine Maisler is superb as it feature some notable small roles and appearances from Roger Yuan and Babs Olusanmokun reprising their roles as two House Atrides officers who are forced to fight Feyd-Rautha as well as Souhelia Yacoub as Chani’s friend Shishakli who is also a skeptic over the prophecy, Dave Bautista in a superb role as Feyd-Rautha’s older brother Glossu Rabban who becomes overwhelmed by the Fremen attacks, and Lea Seydoux in a terrific small role as a Bene Gesserit nun in Lady Margot Fenring who seduces Feyd-Rautha in order to observe him in the hopes he can take down the Fremen. Christopher Walken is fantastic as Emperor Shaddam IV as the leader of the universe who was one of the figureheads in the attack of House Atrides as he copes with his fading leadership but also new threats as Walken is surprisingly restrained considering that the character could’ve been a bit more camp.
Charlotte Rampling is excellent as the Bene Gesserit Reverend Mother Gaius Helen Mohiam who is also a mentor to Princess Irulan as well as someone who has played a key role in the attack of House Atrides as she sees Paul as major threat as well as displaying a sense of ambiguity over what is to come. Stellan Skarsgard is brilliant as Baron Vladimir Harkonnen as the head of House Harkonnen who is eager to take advantage of controlling Arrakis yet becomes troubled by the Fremen rebellion as well as who is leading them. Josh Brolin is amazing as Gurney Halleck as Paul’s mentor and former military leader for House Atrides as he had become a smuggler as he would aid Paul in this rebellion yet is not fond of this religious fanaticism but chooses to stay silent as an act of loyalty towards Paul. Javier Bardem is incredible as Stilgar as the Fremen leader who sees Paul as this messianic figure based on a prophecy as he becomes a mentor and later be someone who would gather many allies believing that it would help the Fremen.
Rebecca Ferguson is sensational as Lady Jessica Atrides as a Bene Gesserit nun who becomes a Reverend Mother for followers in Arrakis as she would help gather many followers in playing up this prophecy as she brings an ambiguity into someone that would gain power but also at the extent of her son’s well-being and humanity. Austin Butler is great as Feyd-Rautha as Baron Harkonnen’s youngest nephew who is this psychotic figure that is beloved by the people in his planet as a skilled fighter as well as someone who is eager to prove him to himself as a leader where he finds a formidable opponent in Paul as Butler definitely brings a lot of nuances to the character but also an unexpected humanity that makes him unique. Florence Pugh is tremendous as Princess Irulan Corrino as the emperor’s daughter who records in her journal over what happened at Arrakis while believing that Paul is alive as she begins to question into what had happened and why where she also questions the motives of both her father and her mentor in Reverend Mother Gaius Helen Mohiam.
Zendaya is spectacular as Chani as a Fremen rebel who is becomes Paul’s lover while is also troubled by people making him into a messiah as she is the film’s moral compass as someone who gets to know Paul as a human being but also is forced to watch him accept a role he doesn’t want but needs to play. Finally, there’s Timothee Chalamet in an astonishing performance as Paul Atrides as the son of that late Duke Leto Atrides who is eager to get revenge over what happened to his father but also learn about the ways of the Fremen. Chalamet’s performance also has a complexity of a man that becomes conflicted into the role he is asked to play where he also has to deal with surreal dreams and sacrifices where he would accept this role of rebellion but would also facing a future of immense uncertainty over what he might do.
Dune-Part Two is a magnificent film from Denis Villeneuve. Featuring a tremendous ensemble cast, ravishing visuals, a story of rebellion and the struggles of being a messiah, Hans Zimmer’s visceral score, and immense technical work. It is a film that isn’t just this great follow up to the 2021 film but also help book end the novel both films are based on as well as create a sci-fi epic that is willing to challenge audiences as well as showcase a world that is astonishing. In the end, Dune-Part Two is an outstanding film from Denis Villeneuve.
Denis Villeneuve Films: August 32nd on Earth - Maelstrom - Polytechnique - Incendies - Prisoners (2013 film) - Enemy (2013 film) - Sicario - Arrival (2016 film) - Blade Runner 2049 - Dune-Part One - (Dune: Messiah)
Related: Dune (1984 film) - Jodorowsky's Dune The Auteurs #68: Denis Villeneuve
© thevoid99 2024
The film follows events in what was meant to be the course of 33 years as it followed the many journeys of various people in the world of crime. It starts with a man (Eddie Constantine) who arrives via helicopter to make a delivery to two gangsters (Jean-Marc Barr and Udo Kier) as he would then sell his horse one year later to a Swedish businessman (Ernst-Hugo Jaregard) where things later get problematic following that man’s death. Even as the two gangsters go on the run as they hide at the home of one of the gangsters’ uncle (Jens Okking) who lets them in but with a catch as they’re later hunted by a hitman (Baard Owe) forcing the two gangsters to go to a woman (Katrin Cartlidge) for information. She would later reluctantly help the hitman and another gangster (Stellan Skarsgard) to retrieve a parcel only for things to go wrong as usual. It all play into the schematics of what is expected in gangster films but also with an absurd sense of humor.
Lars von Trier’s direction is stylish as it is set on various locations in Sweden, the South of France, and Denmark as it starts off in a straightforward yet stylish manner though it is largely presented in a raw form that had been cultivated by Hanne Palmquist. Throughout the course of the film, von Trier’s style went from being somewhat technical in its compositions with straightforward static shots in the wide and medium shots for the locations while becoming looser in the close-ups as they’re shot on hand-held camera. Notably in the scenes involving the two gangsters and one of their uncles as they go grocery shopping as they have to buy him a feast in exchange for temporarily staying with them. Even in the scenes with Katrin Cartlidge’s character as it is shot mainly in the winter as she is jogging where the usage of hand-held cameras become evident including in her scene meeting with the Swedish businessman. The fact that it’s only 27-minutes long showcase an idea that had a lot of potential but given the fact that two of the three actors died during its production with Cartlidge dying in 2002 forced von Trier to shelve it five years after he had stopped film to pursue other projects.
The film’s ensemble cast features a cameo appearance from Birgitte Raaberg as a jogger who passes by the two gangsters and the woman during a jog as well as Baard Owe as the hitman who is pursing the gangsters and the parcel. Stellan Skarsgard is superb as another gangster working with the hitman while Katrin Cartlidge is excellent as a woman who knew the two gangsters from the film earlier in whom she is reluctant to give them information. Jens Okking is fantastic as an uncle of one of the two gangsters who gives them a place to crash on the condition they buy him a feast while Ernst-Hugo Jaregard is brilliant as a Swedish businessman buying a horse. Jean-Marc Barr and Udo Kier are amazing as the two gangsters who go out in hiding following some bad decisions as they deal with the chaos of a deal they made a long time ago. Finally, there’s Eddie Constantine in one of his final film performances film just before his death as a man who delivers the gangsters a parcel and later becoming this ailing man who sells his best horse to the Swedish businessman.
Dimension is an excellent project from Lars von Trier in its unfinished form. While it showcases an idea that is unique and imaginative. The fact that it is left unfinished due to the deaths of Ernst-Hugo Jaregard, Eddie Constantine, and Katrin Cartlidge does showcase the potential that von Trier had for a unique gangster film. In the end, Dimension is a superb yet unfinished film from Lars von Trier.
Lars von Trier Films: The Element of Crime - Epidemic - Medea - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2: Idioterne - Dancer in the Dark - Dogville - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)
Related: Favorite Films #3: Breaking the Waves - The Auteurs #7: Lars von Trier
© thevoid99 2023
Set in a futuristic universe in the year 10,191, the film revolves around a noble family who is asked by an emperor to watch over the harvesting of a mysterious mélange on a planet unaware that they’re being set-up by a rivaling house who had been waging war on the planet’s inhabitants. It is a film that may have a simple premise on paper but it is filled with layers on its themes on power, idealism, colonialism, and politics. The film’s screenplay by Denis Villeneuve, Eric Roth, and Jon Spaihts definitely play into a lot of the conflicts that goes on where the actions of the House of Harkkonen led by its baron (Stellan Skarskard) in going to war with the inhabitants of the planet of Arrakis in the Fremen forces its emperor to end the conflict by having the Harkkonens leave the planet and ask the House of Atrides led by Duke Leto Atrides (Oscar Isaac) to watch over the planet and its production of its resource in this mélange that makes interstellar traveling possible.
Traveling with his concubine Lady Jessica (Rebecca Ferguson) and their son Paul (Timothee Chalamet) along with several officials, Duke Atrides hopes to make peace with the Fremen and continue production of the spice yet Paul, the weapons master Gurney Halleck (Josh Brolin), and sword master Duncan Idaho (Jason Momoa) believe something is off. Especially as Idaho had been learning about the Fremen as he was able to get its chieftain in Stilgar (Javier Bardem) to have discussions with Duke Leto leading to the first steps of a peaceful resolution while planetologist Dr. Liet-Kynes (Sharon Duncan-Brewster) reveal much about the planet as she is aware that Paul is having dreams and visions that is increased by his contact with mélange. Even as Paul had been taught in the teachings of his mother who is a disciple of the Bene Gessirit sisterhood, who are powerful in both they’re physical and mental abilities, as her mentor in Gaius Helen Mohiam (Charlotte Rampling) realizes that Paul is a threat as she asks Baron Harkkonen to spare Paul and Jessica which he agrees to unaware that he plans on killing them all.
The screenplay does a lot in not just fleshing out these characters but also play into the stakes of what the House of Atrides is dealing with as they begin to ask questions about why they’re in Arrakis. Even as Paul becomes a target with some believing he is a prophet that will help the Fremen rebel against the emperor though Paul himself is unsure while a lot of the dreams he has features a young woman he would meet in Chani (Zendaya). There are also a lot of political maneuvering in the hand of the Harkkonens as they are intent on having control of the mélange in an act of greed and domination as they treat the Fremen as vermin. There is a structure to the script as it does play into the development of Paul Atrides but also in this journey of the role he has to play as he has to cope with loss as well as things he has to do for the greater good.
Villeneuve’s direction is definitely vast in its presentation as it plays into the different worlds of the universe as it has a physicality that isn’t seen often in sci-fi films. Shot on various locations in the Liwa Oasis at United Arab Emirates as parts of Arrakis along with the deserts of Jordan and Stadlandet as the House of Atrides’ home planet of Caladan plus studios in Budapest for some of the interiors including the home planet of the Harkkonens. Villeneuve maintains a world that grand where the future is this massive universe and Arrakis is at the center where Villeneuve uses a lot of wide and medium shots to capture the look of this desert world with the sand being this mélange that has mystical quality that does more than provide a resource for interstellar traveling during a scene where Duke Atrides, Paul, Gurney, and Dr. Liet-Kynes are saving harvesters where Paul gets close into contact with the mélange.
Villeneuve also uses close-ups to play into Paul’s interaction with the mélange as well as the dreams he have that often feature Chani as well as images possibly relating to future events and such. There is a physicality to Villeneuve’s presentation in the dragonfly-planes that the House of Atrides uses as well as other spaceships along with some of the designs of the sandworms who move around the desert. Villeneuve emphasizes more on this air of physicality as well as the presentation of other planets including a planet where the emperor’s soldiers as it this desolate and rainy world while the Harkkonens’ home planet is just as dark in comparison to the desert beauty of Arrakis. Even in the film’s second act where Paul and Lady Jessica hide from the Harkkonens and the emperor’s army with the aid of Dr. Liet-Kynes and Idaho, there is this air of realism into the locations and places where Villeneuve’s usage of tracking shots play into the suspense.
Villeneuve also play up into this world of politics such as scene of Duke Atrides being confronted by Baron Harkkonen as the compositions that Villeneuve create is filled with this dramatic tension while the third act plays into the aftermath of the threat that is Paul Atrides. Notably as Atrides and Lady Jessica deal with the world they’re in but also revelations about why their house was sent to Arrakis. The final moments of the film is more of setting up of what is to come since the film basically sets up a lot of what happens in the first half of the book. Yet, Villeneuve is able to do more than just establish the world and these characters but also the stakes itself in what Paul has to do for Arrakis and the universe itself. Overall, Villeneuve crafts a ravishing yet intoxicating film about a young man taking his steps into finding himself amidst a troubling intergalactic conflict on a repressed planet.
Cinematographer Greig Fraser does incredible work with the film’s cinematography in its emphasis on natural lighting for many of the daytime exterior scenes on Arrakis along with some of its interior scenes in the caves and tunnels along with the usage of low-key lighting for some of the interior/exterior scenes at night as it is a highlight of the film. Editor Joe Walker does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into some of the action and drama while also knowing when to have shots linger for a bit to play up the suspense. Production designer Patrice Vermette, with supervising art director Tom Brown and senior art director Karl Probert plus set decorators Richard Roberts and Zsuzsanna Sipos, does phenomenal work with the look of the city and spice refinery on Arrakis as well as the space ships and the way the home of the Harkkonens look as it play into their personality. Costume designers Bob Morgan and Jacqueline West do amazing work with the design of the refined suits of the House of Atrides as well as the gowns of the Bene Gessirit and the clothes of the Harkkonens.
Hair/makeup/prosthetics makeup designer Donald Mowat does brilliant work with some of the prosthetics that include some of the makeup of the characters such as Gaius Helen Mohiam and some of the Harkkonens including Baron Harkkonen in his obese yet larger-than-life persona. Special effects supervisor Gerd Nefzer and visual effects supervisor Paul Lambert do superb work with the effects from the usage of prosthetics in the look of some of the space ships along with digital effects into the look of the giant sand worms including the detail in its mouth. Sound editors Theo Green and Mark A. Mangini do tremendous work with the sound as it adds to the film’s atmosphere in the way the sand worms emerge along with the thumpers to attract their attention as well as the way the space ships and such sound as it is a highlight of the film. The film’s music by Hans Zimmer is sensational for its bombastic score that features elements of bass-heavy electronics and orchestral bits along with vocal choirs and such, with vocal contributions from Lisa Gerrard of Dead Can Dance, to play into the scale of the film as it is a highlight while music supervisors Peter Afterman and Alison Litton cultivate a soundtrack that features some folk-like pieces and other electronic pieces to play into the world that the characters are in.
The casting by Jina Jay and Francine Maisler is marvelous as it feature some notable small roles from Roger Yuan as Gurney’s right-hand man Lt. Lanville, Golda Rosheuvel as the Fremen maid Shadout Mapes who assists Lady Jessica in Arrakis, Benjamin Clementine as an imperial delegate who brings an order to Duke Atrides early in the film, Babs Olusanmokun as a Fremen in Jamis who challenges Paul’s allegiance late in the film, Chang Chen as Suk physician Dr. Wellington Yueh who works for the House of Atrides as he is a man dealing with conflict of his own, David Dastmalchian as the Harkkonen official who aids in political dealings and matters of torture, Stephen McKinley Henderson as the House of Atrides’ official Thufir Hawat who also deals in political matters and the handling of security, and Zendaya in a fantastic small role as the Fremen Chani who appears in Paul’s dreams as a symbol of hope as well as someone who is part of a rebellion against the Harkkonens and the emperor. Dave Bautista is superb as Baron Harkkonen’s brutish nephew Glossu Rabban as a figure who kills people and does whatever his uncle asks him to while also realizing the big threat this is Paul Atrides.
Javier Bardem is terrific as the Fremen chieftain Stilgar as a man who is suspicious of the House of Atrides’ arrival only to realize their motives as he would play a bigger role late in the film. Sharon Brewster-Duncan is excellent as Dr. Liet-Kynes in a role that was originally as a man where Brewster-Duncan brings a lot of gravitas and charisma to the role as a planetologist who works for the emperor yet realizes that something isn’t right where she would help out the House of Atrides as she knows a lot about life on Arrakis. Jason Momoa and Josh Brolin are amazing in their respective roles as Paul’s mentors in the sword master Duncan Idaho and the weapons master Gurney Halleck as two men who teach Paul on the ideas of combat with Momoa as someone who got to know the Fremen as he is also aware that something is off while Brolin’s performance as Gurney is more reserved as someone who isn’t as trusting as Idaho but is loyal to the House of Atrides. Charlotte Rampling is brilliant in her small role as Gaius Helen Mohiam as the Bene Gessirit Reverend Mother who tests Paul on his skills and realizes that he is powerful where she sees him as a threat.
Stellan Skarsgard is incredible as Baron Vladimir Harkkonen as this evil and greedy figure who is obese and creepy in his look while displays a chilling tone to his character as someone that wants it all and to destroy everyone in his path. Oscar Isaac is remarkable as Duke Leto Atrides as the head of House of Atrides who is hoping to bring peace and prosperity to Arrakis while learning that he’s become a political target where he copes with not just the expectations for his son but also the fate of his family. Rebecca Ferguson is phenomenal as Lady Jessica as Duke Atrides’ concubine and a Bene Gessirit priestess who taught Paul special vocal powers as she deals with her role as a Bene Gessirit but also the big role that Paul might have to play. Finally, there’s Timothee Chalamet in a tremendous performance as Paul Atrides as the son of Duke Atrides who is a young man trying to learn about the universe as he has visions that could be about the future while dealing with the role he has to play where Chalamet brings a lot of that air of uncertainty but also someone who knows he has to grow as it is a career-defining performance for Chalamet.
Dune-Part One is a magnificent film from Denis Villeneuve. Featuring an incredible ensemble cast, rapturous visuals, astonishing set pieces, its emphasis on themes of politics and colonialism, and Hans Zimmer’s phenomenal score. The film is definitely a grand piece of art that doesn’t just live up to the vision of Frank Herbert but also be a sci-fi film that does a lot more than just be action in favor of characters, motivations, and the stakes. In the end, Dune-Part One is an outstanding film from Denis Villeneuve.
Denis Villeneuve Films: August 32nd on Earth - Maelstrom - Polytechnique - Incendies - Prisoners (2013 film) - Enemy (2013 film) - Sicario - Arrival (2016 film) - Blade Runner 2049 - Dune-Part Two - (Dune: Messiah)
Related: Dune (1984 film) - Jodorowsky's Dune - The Auteurs #68: Denis Villeneuve
© thevoid99 2021
Based on the fairy tale by Charles Perrault, Cinderella is the story of a young woman whose quaint and loving world is shattered by the death of her family as she is treated cruelly by her stepmother and stepsisters until a ball is announced where she would be able to go with a little help from magic. Directed by Kenneth Branagh and screenplay by Chris Weitz, the film is a lavish interpretation of the fairytale that also features elements from the 1950 Disney animated version with Lily James in the titular role. Also starring Richard Madden, Derek Jacobi, Stellan Skarsgard, Ben Chaplin, Hayley Atwell, Holliday Grainger, Sophie McShera, Nonso Anozie, Helena Bonham Carter, and Cate Blanchett as the stepmother Lady Tremaine. Cinderella is a dazzling and heartwarming film from Kenneth Branagh.
The film is a unique take on the fairy tale about how this young woman who lived under the cruelty of her stepmother and stepsisters where she is forced to serve them until a ball is announced where she would standout and capture the heart of the prince in her land through magic and a glass slipper. It’s a story that’s been told many times yet what director Kenneth Branagh and screenwriter Chris Weitz does is provide some back story for some of the characters but also add some offbeat humor into the story. The film begins with the life of Cinderella as a child where she was known as Ella who lived in a happy home with her family and servants until the death of her mother (Hayley Atwell) and her father (Ben Chaplin) eventually remarrying years later to Lady Tremaine until he would die tragically. It would set the events of what would happen where Tremaine and her stepdaughters would treat Ella cruelly and fire all the staff forcing Ella to become their servant. For all of the cruelty she endures, Ella maintains a strong front as she made a vow to her mother to be kind and have courage.
Branagh’s direction definitely plays to a very lavish style where it is largely fantasy as opposed to elements of intense reality. Shot largely in Britain, the film is set during medieval times but from a world where there isn’t much conflict nor poverty where everything is great but not perfect. Once Lady Tremaine comes in, she represents a woman who likes to live lavishly and with excess just like her own daughters who are full of themselves and expect to be treated as elite while Ella is a woman who is generous and uses whatever she can to live or sleep on with the aid of mice. Upon meeting the Prince (Richard Madden) during a horseback ride as the Prince claims to be an apprentice, it is clear that Branagh wanted to provide more depth to these character as the Prince isn’t some typical prince but rather a young man coping with what is ahead of him. Especially as the Duke (Stellan Skarsgard) wants him to marry another princess for political reasons rather than for love.
Branagh’s approach to compositions with its wide and medium shots get a good view of the landscape as well as the world that the Prince lives in along with the lifestyle that Tremaine and her daughters crave for. Branagh would also use some medium shots and close-ups to play into the life of Ella and how she would cope with the living situations in her life as well as the cruelty she endures. Once the Fairy Godmother (Helena Bonham Carter) arrives, the film lightens up where Branagh goes for some offbeat comedy as some of it is childish but also manages to be very funny. Even in the way Branagh portrays the stepsisters as buffoons manage to be entertaining while not losing sight into the story itself. Especially the message as it plays into the idea of depth and what one must endure in a world that is often very cruel and unforgiving. Overall, Branagh crafts a fantasy film that manages to be entertaining as well as enchanting.
Cinematographer Haris Zambarkoulos does excellent work with the film‘s cinematography with the usage of lights for many of the interiors set at night as well as in the ball scene to the exteriors for scenes set at night. Editor Martin Walsh does nice work with the editing as it‘s very straightforward with some rhythmic cuts for the scenes at the ball. Production designer Dante Ferretti, with supervising art directors Gary Freeman and Leslie Tomkins and set decorator Francesca Lo Schiavo, does fantastic work with the look of home Ella lives in as it‘s quaint yet warm while the palace itself is lavish to play into the world that the Prince lives in. Costume designer Sandy Powell does brilliant work with the costumes from the dresses and gowns many of the women wear including the blue ball gown that Ella would wear at the ball.
Makeup designers Naomi Donne and Norma Webb, with hairstylists Carol Hemming, Orla Carroll, and Wakana Yoshihara, do amazing work with the look of the characters including the hairstyles of Lady Tremaine and her daughters as well as the look of the Fairy Godmother. Visual effects supervisor Huseyin Caner does terrific work with the visual effects in some of the moments of magic as well as the design of the mice that Ella talks to. Sound editor James Mather does superb work with the sound in creating effects for some of the fencing scenes in the palace as well as some low-key sounds at Ella‘s home. The film’s music by Patrick Doyle is wonderful for its lush, orchestral-based score that plays into the sense of fantasy as well as some of the moments of innocence that Ella carries throughout the film while the soundtrack also features song from the 1950 animated film.
The casting by Lucy Bevan is remarkable as it features notable small roles from Rob Brydon as a family friend in Master Phineus, Nonso Anozie as the Prince’s guard captain, Jana Perez as a princess the Duke feels the Prince should marry, Eloise Webb as the young Ella, and Derek Jacobi in a superb performance as the King who sees the conflict in his son over what to do. Ben Chaplin and Hayley Atwell are fantastic as Ella’s parents as kind-hearted people who provide the many elements that would make Ella who she is with Chaplin as the worldly father and Atwell as the very kind-hearted mother. Holliday Grainger and Sophie McShera are excellent in their respective roles as the stepsisters Anastasia and Drisella as they both provide a sense of comic relief in how untalented and dim-witted they are. Stellan Skarsgard is brilliant as the Grand Duke as the man running the kingdom where he is hoping to make some political maneuvers while conspiring with Lady Tremaine in the film’s third act.
Helena Bonham Carter is a total delight as the Fairy Godmother as this magical being who shows up to help Ella get ready for the ball as well as being someone that is just funny to watch. Richard Madden is amazing as the Prince as a young monarch who copes with the role he is about to gain while falling for Ella unaware of who she is as he deals with what to do as a prince and as a man. Cate Blanchett is incredible as Lady Tremaine as a wicked stepmother who treats Ella very cruelly while hoping that the ball would put her and her daughters out of debt and gain power in being part of the royal court where Blanchett adds a bit of restraint in her approach to humor as well as chewing the scenery. Finally, there’s Lily James in a radiant performance as the titular character as a young woman who copes with loss and cruelty while trying to raise her spirits and do what is right as well as be courageous and kind.
Cinderella is a phenomenal film from Kenneth Branagh. Armed with a great cast, gorgeous scenery, and an engaging story that manages to be faithful to its source and more. It’s a film that is also very accessible in terms of what it needed to say as well as be very entertaining. In the end, Cinderella is a splendid and majestic film from Kenneth Branagh.
Kenneth Branagh Films: (Henry V (1989 film)) - (Dead Again) - (Swan Song) - (Peter‘s Friends) - (Much Ado About Nothing (1993 film)) - (Frankenstein (1994 film)) - (A Midwinter’s Tale (1995 film)) - (Hamlet (1996 film)) - (Love’s Labour Lost (2000 film)) - (Listening) - (As You Like It (2006 TV film)) - (The Magic Flute (2006 film)) - (Sleuth (2007 film)) - Thor - (Jack Ryan: Shadow Recruit)
© thevoid99 2016
Originally Written and Posted at Epinions.com on 10/20/07 w/ Additional Edits & Revisions.
Based on the novel by Milan Kundera, The Unbearable Lightness of Being is the story of a Czech surgeon who deals with two relationships involving an innocent photographer and an artist as they both represent different ideas of what he wants. Directed by Philip Kaufuman and screenplay by Kaufman, Jean-Claude Carriere, and Saul Zaentz, the film is an exploration into a love triangle that occurs during the 1960s where they also endure political and social changes in the former Czechoslovakia. Starring Daniel Day-Lewis, Juliette Binoche, Lena Olin, Derek de Lint, Donald Moffat, Pavel Landovsky, Erland Josephson, and Stellan Skarsgard. The Unbearable Lightness of Being is a harrowing yet mesmerizing film from Philip Kaufman.
It's 1968 in Prague, Czechoslovakia as a surgeon named Tomas (Daniel Day-Lewis) spends his life flirting and sleeping with other woman including a nurse named Katja (Pascale Kalensky). Tomas also has a mistress named Sabina (Lena Olin) who works as an artist as she is the only real friend he has and understands him better than anyone. Then one day as Tomas goes to a country spa town to perform surgery, he catches the eye of a waitress named Tereza (Juliette Binoche) who shares his love for books and such. She had dreamed of going to Prague to make it as a photographer as she joins him. Knowing that Sabina has connections with the art world, she manages to give Tereza a job working for the press which she was happy though she noticed the chemistry between Sabina and Tomas. Thanks to Sabina, Tereza's work as a photographer makes her a success as they go to a party where Tereza makes Tomas jealous when he dances with his colleague Jiri (Tomek Bork) while making speeches about morality and insults towards the Russian politicians. During that night, they're at a club with the politicians where one of them told the band to play the Russian anthem that then becomes a rock n' roll number.
When Tomas writes an article to the press about the Russians, it unfortunately attracted the attention of the Russians. Despite just being married to Tereza, Tereza's knowledge of Tomas' love of sex and women makes her insecure as she tries to walk out only to catch a glimpse of the Russian tanks arriving.The Russian invasion in Prague is captured by Tereza’s camera as she sees Sabina leave for Switzerland. The two later join when Tereza has been caught photographing the event, even when she sends film rolls to foreigners. In Switzerland, Sabina caught the attention of a university professor named Franz (Derek de Lint). The two fall in love as they have their own affair that is great except for the fact that he's married. Tomas and Tereza arrive as Tomas gets a new job though Tereza finds that her love of photography is being stifled by having to do nude photographs for money and attention. She contacts Sabina for some nude photography and vice versa as for a moment, they briefly bonded until Franz's arrival to tell Sabina the news that he's leaving his wife. Sabina, unsure of wanting a relationship with Franz since she also adores Tomas and Tereza, chose to leave Switzerland and Franz. Tereza also leaves the country to return to Prague with their dog Karenin as Tomas realizes he needs her as he returns to Czechoslovakia but with his passport now confiscated.
Now in a new Czechoslovakia, Tomas tries to get his old job but his boss (Donald Moffat) told him that he couldn't unless he sign documents over the article he wrote. After an Interior Ministry official (Daniel Olbrychski) tries to get him to sign, Tomas ends up cleaning windows for a living while Tereza becomes a waitress at a bar. Befriending an engineer (Stellan Skarsgard), Tereza finds herself increasingly insecure with Tomas returning to old habits with women.
In response, she meets with the engineer but suspects something is wrong. Turning to a former ambassador (Erland Josephson) about what had happened, Tereza's guilt forces she and Tomas to leave Prague for good to live in the country with their friend Pavel (Pavel Landovsky) his pig Mephisto, and his nephew (Pavel Slaby). It is there Tomas is forced to confront his demons, his life with Tereza, and his old affairs with Sabina.
While it's obvious that Kaufman, co-screenwriter Jean-Claude Carriere, and producer Saul Zaentz made some changes from the book in their adaptation to add eroticism to the story. The result is a fascinating drama about a doctor whose life and love for two women collide with his own reality in the backdrop of the Russian invasion in 1968. The film is really about a love triangle where all three characters love each other yet have troubling sharing one another. It's also the heart of film and story where they all have trouble sharing each other yet one when two bonds with one forced to watch, there's a sense of jealousy and confusion. It's the characters of Tomas, Tereza, and Sabina that drive the story.
The script by Kaufman and Carriere works in its structure and how the relationships are perceived. The first act is really about Sabina and Tomas with Tereza having to watch while marrying Tomas in a relationship where sex is something mysterious to her. In the second act, there's a scene that's really about Sabina and Tereza and their brief bond. Yet, with Tomas not really aware of what's going on, another observer appears in the form of Franz who doesn't really understand Sabina's role in the love triangle she appears in with Tomas and Tereza. When the third act arrives, Sabina is gone as the film becomes more about the fragile yet tender relationship of Tomas and Tereza and all of their faults. Essentially, the film is about relationships and how fragile they are with each character carrying a different trait.
Tomas is a man filled with charm and bravado who succumbs to habits with women that makes him unfulfilled emotionally. Tereza is a woman who is essentially a woman filled with innocence as she offers love but when it comes to sex, she doesn't really know anything while not wanting to expose herself physically. When she is forced to confront those demons, she becomes confused forcing Tomas to confront his own flaws. Then there's Sabina, she kind of represents the observer of the entire relationship. She’s the only one who understands Tomas' desire for women and Tereza’s insecurities as she tries to help her be confident. Yet, when she is confronted with things like love and security in the form of Franz, it's a world she's not used to since she prefers her own individuality. Therefore, she doesn't appear much in the third act until the end of the film.
Kaufman’s direction is top-notch for its observation and subtle approach towards the film's erotic moments. Whereas nudity is used to titillate or shock the audience, Kaufman does it with emotions where the most erotic moment doesn't have to be a naked woman but rather other body parts like the eyes or what's going on in that scene. In the more politically-driven scenes, the recreation of the invasion isn't shot in Czechoslovakia (due to its political climate at the time) but in France. Yet, the mix of stock footage and real-life footage shot in black-and-white almost made the film documentary-like. While a lot of the film was shot on location in France along with French soundstages and parts of Geneva, Switzerland. The film managed to give that feeling of oppression both physically and psychologically. Credit must go to Kaufman for not overplaying or under-emphasize the drama. Instead, he brings the characters to life and the story itself in what is definitely one of his strongest efforts.
Cinematographer Sven Nykvist brings some gorgeously shot sequences with his mastery craft with wonderful interior shots done with great intimacy. The exteriors are also notable from the lively look of Lyon as Prague in the first act along with the countryside that includes a shot on magic-hour in the third act. Editor Walter Murch also brings his mastery with his wonderful cutting style that plays like a camera capturing the action. Murch's use of stock footage mixed in with recreated shots of the Russian invasion is also genius to convey the chaos as Murch's work is brilliant. Production designer Pierre Guffroy definitely creates wonderful interior designs for the film including his recreation of Prague in the soundstages. Featuring paintings by another artist and a look that is very spacious yet intimate in the first half of the film, the look definitely changes to something more claustrophobic until in the later part of the third act where everything's natural.
Costume designer Ann Roth helps with the film's differing look with the dark clothes that Tomas wears to the exotic lingerie Sabina wears, and the country-like dresses and city-like clothes that Tereza wears. Sound designer Alan Splet does wonderful work with the sound, notably the Russian invasion sequence to bring the layering of sounds from sirens, tanks, and everything that goes on. Music composer Mark Adler brings a soft film score to convey the drama of the Russian Invasion. The rest of the music is flourishing, lyrical piano music by Janacek that soars throughout the entire film.
Then there's the film's cast that is wonderfully superb with small performances from Anne Lonnberg as a Swiss photographer, Clovis Cornillac as a young man who harasses Tereza at a bar, Pascale Kalensky as Nurse Katja, Pavel Slaby as Pavel's nephew, and Bruce Myers as a Czech editor. Other minor performances from Tomek Bork, Daniel Olbrychski, and Erland Josephson as the ambassador are very memorable including Stellan Skarsgard as a shady yet charming engineer and Donald Moffat as the chief surgeon. Pavel Landovsky is excellent as Tomas' friend Pavel, a man who loves his pet pig Mephisto while giving Tomas and Tereza a home late in the film as he muses on the changing times. Derek de Lint is great as a Franz, a university professor who falls for Sabina but isn't sure about her quirks as he doesn't realize what kind of life she leads.
In her first American film, Swedish actress Lena Olin gives a magnificent, sensual performance as Sabina. Though her character is kind of a sexpot of sorts, Olin brings depth to the character as some of her more seductive appearance isn’t what she's not wearing but rather what she's showing. It's a brilliant performance from the actress who is truly a joy to watch. Juliette Binoche is amazing as the more introverted Tereza. Binoche displays an innocence and fragility to the character that is unsure about love and sex while being forced to confront her own failures and her relationship with Tomas. Binoche's performance is very strong and engaging while her scene with Olin with the camera is truly one of the most seductive and jaw-dropping for their emotional responses. Daniel Day-Lewis is in great form as Tomas, a charming, womanizing surgeon who seems to love women more than anything. It's also his downfall yet Day-Lewis brings a lot of wit and a sly face to the character that is a joy to watch. His scenes with Binoche and Olin, whether separate or together, are amazing to watch in how he manages to act with them. Even using a Czech accent, Day-Lewis brings a lot of authenticity to the character while remaining witty in his situations.
The 2006 2-disc, Region 1 DVD from Warner Brothers presents the film with a new, superior transfer that is an improvement over its previous DVD releases including the 1999 Criterion DVD. Presented on widescreen and newly superior sound. The only real negative of the DVD is that due to the remastering and superior film transfer, the three-hour film is split in two. After the first two hours are in the first disc. The film ends in a fade-out with the third hour opening very abruptly. Despite that huge flaw, the film definitely works to its original theatrical presentation. The audio commentary track by director Philip Kaufman, co-screenwriter Jean-Claude Carriere, Lena Olin, and Walter Murch is the same commentary from the original 1999 Criterion DVD. While all the tracks are done separately, they're all very informative. Kaufman, who dedicates his commentary to sound designer Alan Splet who died a few years prior, discusses a lot of the film's themes, the difficulty of trying to be faithful to the book while fawning over Juliette Binoche's performance. Jean-Claude Carriere discusses his friendship with Milan Kundera, the themes of the book, and the difficulty of the adaptation.
Olin's commentary is often on many of her scenes as she talks about some of the costumes, her friendship with cinematographer Sven Nykvist and the brief scenes that Erland Josephson had whom she had worked with in a couple of films for Ingmar Bergman. Walter Murch discusses a lot of the film's more technical pointers as he reveals he never goes to a film set during production and some of the editing techniques he did for the film in using two different editing machines before the age of computers. Along with the film's theatrical trailer in the 2nd disc, a 30-minute featurette entitled Emotional History: The Making of The Unbearable Lightness of Being features interviews with Philip Kaufman, Jean-Claude Carriere, Walter Murch, and producer Saul Zaentz. Kaufman talks about discovering the novel in 1984 and turning to Saul Zaentz to make it into a project. Bringing Jean-Claude Carriere to help write the script where they added some more erotic elements to the story with Kundera's permission.
Murch discusses the editing of stock footage intercut with recreated footage shot during production. He would later talk briefly about his friendship with Kaufman whom he knew during the early days of American Zoetrope in the early 70s with founders George Lucas and Francis Ford Coppola. Zaentz discusses the film's release in 1988 where in the U.S., it did OK despite rave reviews from critics while it was a bigger hit in Europe. Particularly a screening in Russia at the time Communism fell down where Kaufman is convinced the film took a small role in helping end Communism in Eastern Europe.
The Unbearable Lightness of Being is a phenomenal film from Philip Kaufman that features great performances from Daniel Day-Lewis, Juliette Binoche, and Lena Olin. Armed with a great supporting cast as well as some amazing technical work, the film is truly an intriguing and compelling film about a love triangle that occurred during some intense moments involving events in history. In the end, The Unbearable Lightness of Being is an exquisitely rich and sensational film from Philip Kaufman.
Philip Kaufman Films: (Goldstein) - (Fearless Frank) - (The Great Northfield Raid) - (The White Dawn) - (Invasion of the Body Snatchers (1978 film)) - (The Wanderers) - (The Right Stuff) - (Henry & June) - (Rising Sun) - (Quills) - (Twisted (2004 film)) - (Hemingway & Gellhorn)
© thevoid99 2015
Written and directed by Lars von Trier, Nymphomaniac is a two-part, five-and-a-half hour film (in its director’s cut) that explores the life of a self-diagnosed nymphomaniac who has endured an illustrious yet trouble sexual history as she tells her story to a man who analyzes her story. The third and final part of Lars von Trier’s Depression trilogy, the film is an exploration into the life of a woman who copes with her sexual desires which leads to dangerous territories as her attempts to find normalcy leads to depression and loss as the character of Joe is played by Charlotte Gainsbourg and Stacy Martin in two different ages. Also starring Stellan Skarsgard, Shia LaBeouf, Christian Slater, Uma Thurman, Jean-Marc Barr, Udo Kier, Connie Nielsen, Willem Dafoe, Jamie Bell, and Jesper Christensen. Nymphomaniac is a sprawling, provocative, and eerie film from Lars von Trier.
While it may be a film of a simple story involving the life of a nymphomaniac, it’s a film that explores not just the idea of sexuality and love but also how a woman tries to find fulfillment through sex in a life that is very turbulent. Told largely in a narrative where Joe tells her story to this man named Seligman (Stellan Skarsgard), it plays into Joe’s life with Seligman analyzing these events through eight chapters. Through the course of the story, Seligman becomes fascinated by her story with some curiosity and disgust while he brings in a lot of strange theories and ideas into the mix that intrigues Joe. There is a unique interplay between the two as Joe is telling her story as it would have this rise-and-fall scenario where the first half of the film is about Joe using her sex drive as a tool and feels liberated by it. Yet, her encounters with the idea of love, loss, and that liberation would eventually play into her downfall as she is desperate to regain her sexual drive only to go into great extremes which would cost her greatly.
Since it’s a two-part film, it plays into many ideas of what Joe would go through as she tell Seligman her story. The first volume plays into the first five chapters as it relates to Joe’s growing awareness of her sexuality and its power while trying to rebel against the concepts of love. Yet, her encounter with love through the man she lost her virginity to in Jerome (Shia LaBeouf) would complicate things as her attempts to maintain her lifestyle would cause trouble such as the disintegration of a couple’s marriage. The loss of her father (Christian Slater) would start the beginning of Joe’s own descent into depression where a reunion with Jerome would have some repercussions on her sex drive. The second volume plays into that further descent where Joe tries to regain that drive to great extremes as an encounter with a sadist named K (Jamie Bell) would destroy aspects of her personal life. Especially as she tries to conform to society to find fulfillment only to realize who she is as she delves into a darker world.
The script would maintain a back-and-forth scenario where Seligman would give his analysis on this as he is someone that is this intellectual that has read many books on all things in the world such as religion, art, and sex. Yet, he is this observer for the audience as he’s baffled by some of Joe’s antics while Joe would refute some of his analysis while being respectful into his views no matter how overly-analytical they are. That’s where many questions into Seligman come into play where many of Joe’s own hypotheses about him prove to be correct. Though there’s moments where Seligman questions Joe’s views and her behavior in the story, he never judges her while also playing to questions about the people in her own life.
Lars von Trier’s direction is definitely stylish as he goes all-out in terms of visual presentation as well as impact in the way he presents sex at its most graphic. While it’s a film that explores the world of sex and a woman’s sexuality, von Trier definitely aims to create something that is intimate in some parts as it relates to the scenes between Joe and Seligman. Yet, he would also create compositions and images that are very entrancing from his usage of computers to drive the camera movements in some scenes such as the moment Seligman finds the beaten Joe. The direction also includes a lot of hand-held shots and some stylized shots where von Trier would also play with aspect ratios in order to convey some of the drama that occurs. Particularly in the sequence in the film’s third chapter where the young Joe deals with a very distraught wife (Uma Thurman) of one of her lovers.
The direction also has von Trier use different film stocks and visual motifs to play into the film where some of the images are grainy while the fourth chapter sequence of Joe meeting her father for the last time is in black-and-white. The use of wide shots and close-ups are quite evident in the way von Trier plays with the idea of loss and despair where some of the images he uses definitely serves as a homage to the films of Andrei Tarkovsky. Some of that sense of beauty plays into von Trier’s portrayal towards sex where some of it is quaint while other moments are confrontational. Notably in the presentation of the sex as it’s very no-hold-barred where anal sex, oral, and all sorts of sexual ideas do come into play yet von Trier uses some very crafty visual effects, with the help of body doubles, into presenting the images of penetration and other graphic sexual scenes. Some of it is shocking as it does get quite intriguing in the first volume yet things do meander during the sixth chapter in the second volume due to some of the dramatic elements in the film while some aspects do get ridiculous. Especially where Seligman would question into the validity of Joe’s story.
The extended cut of von Trier’s version of the film definitely showcases more graphic scenes as it involves close-ups of genitalia and other shocking moments. Most notably a sequence in the film’s seventh chapter that will definitely test people in terms of its mixture of sexual and violent content as the result will either disgust people or bring unintentional laughter. The film does definitely go full circle towards the end as it ends in some respects to the beginning as it’s followed by Seligman trying to comprehend Joe’s story. Especially as it raises questions into the ideas of sex as well as what would happen if a man was in Joe’s position to be a nymphomaniac. Overall, von Trier creates a very disturbing yet evocative film about a woman’s chaotic sexual life.
Cinematographer Manuel Albert Claro does brilliant work with the film‘s very stylized cinematography from the usage of digital polish in the film‘s fourth chapter segment to the use of grainy camera footage for some scenes in the final chapter as well as some unique lighting shade and schemes that add an entrancing look to the film. Editors Molly Marlene Stensgaard, Jacob Secher Schulsinger, and Volume I editor Morten Hojbjerg do amazing work with the editing with its inspiring usage of montages to play into some of Seligman‘s own analyses as well as some stylish jump-cuts to play into the dramatic tone of the film. Production designer Simone Grau, with set decorator Thorsten Sabel and art director Alexander Scherer, does fantastic work with the different sets created such as the apartment that Seligman lives where Joe would tell her story to the different homes she would live in throughout the journey in her life.
Costume designer Manon Rasmussen does excellent work with the costumes from the array of stylish clothes the young Joe wear to the more conservative look she would wear as she gets older. Hair/makeup designer Dennis Knudsen does terrific work with the look of Joe in her assaulted state as well as the hairstyles the younger version would wear along with the deformed right ear of a character Joe would meet late in the film. Visual effects supervisors Peter Hjorth and Yoel Godo do great work with the visual effects from the realistic look of the sexual content and body doubles that is superimposed on the main actors in the graphic scenes of sex plus a few moments to play into the sense of loss that surrounds Joe.
Sound designer Kristian Eidnes Andersen does superb work with the sound to convey some of the darker moments in the film as well as some of the intimate moments in the drama to play into Joe‘s despair. Music supervisor Mikkel Maltha does wonderful work in assembling the film’s soundtrack as it features a diverse array of music from classical pieces from Johann Sebastian Bach, Ludwig Van Beethoven, Camille Saint-Saens, George Frederic Handel, and Richard Wagner plus music by Steppenwolf, Rammstein, Talking Heads, and Charlotte Gainsbourg doing a cover of Jimi Hendrix’s Hey Joe.
The casting by Des Hamilton is incredible as it is a massive ensemble as it features appearances from noted von Trier regulars Udo Kier as a waiter in the sixth chapter, Jean-Marc Barr as debtor in the film’s final chapter, Jesper Christensen as Jerome’s uncle in the second chapter, and Jens Albinus as a train passenger the young Joe gives head to in the film’s first chapter. Other noteworthy small roles include Kate Ashfield and Caroline Goodall as two different therapists Joe meets in the seventh chapter, Tania Carlin as a sex addict Joe meets in the seventh chapter, Shanti Roney as an interpreter in the sixth chapter Joe hires to make a meeting involving two African brothers, Michael Pas as an older version of Jerome, Saskia Reeves as a nurse in the film’s fourth chapter, Felicity Gilbert as a secretary the young Joe worked with in the second chapter, and Hugo Speer as a married lover of Joe whom she tries to push away only to cause a lot of trouble into his marriage.
In the roles of the younger versions of Joe, Maja Arsovic and Ananya Berger are wonderful in their roles to display the sense of innocence and curiosity for the young women. Connie Nielsen is terrific as Joe’s very cold mother who is often very distant yet manages to be quite intriguing as she would shape elements of Joe’s growth. Sophie Kennedy Clark is superb as the young Joe’s friend B who shares her love of sex as she would compete with Joe in a game of who can fuck more men while alienating Joe with talks about love. Mia Goth is fantastic as Joe’s apprentice P in the film’s final chapter whom she takes in as she would show her the ropes of her job late in the film. Uma Thurman is remarkable as the wife of one of Joe’s lover who arrives to her apartment as she is terrifying in displaying a woman coming apart as her family is being destroyed.
Willem Dafoe is brilliant as a crime boss named L who hires her in the final chapter as well as introducing her to P. Jamie Bell is amazing as the very disturbing sadomasochist K who would help Joe regain elements of her sexuality but at a great price as it’s a very troubling yet exhilarating performance from Bell. Shia LaBeouf is excellent as Jerome Morris as the man whom Joe would lose her virginity to as she would encounter him numerous times as she would eventually marry him only for their marriage to disintegrate as LaBeouf displays some restraint into his performance. Christian Slater is great as Joe’s father as a man who loves tree as she is someone whom Joe adores as she copes badly with his death as there’s a sensitivity and warmth to Slater’s performance that is entrancing to watch.
Stellan Skarsgard is phenomenal as Seligman as a book-smart intellectual who listens and analyzes Joe’s story as he displays some humor and humility to his performance as it’s also full of charm as it’s one of Skarsgard’s best performances. Stacy Martin is sensational as the young Joe as this woman who is quite wild and full of energy as she seeks to find fulfillment in her sexuality as she later copes with the aspects of loss and growing up into adulthood. Finally, there’s Charlotte Gainsbourg in a tremendous performance as the older Joe as a woman desperate to regain her sexual drive only to deal with depression and loneliness as Gainsbourg does great work in her narration as well as play into Joe’s sense of indifference and viewpoints about the ways of the world with such coldness as it’s one of her finest performances.
Nymphomaniac is an astonishing yet harrowing film from Lars von Trier that features great performances from Charlotte Gainsbourg, Stacy Martin, and Stellan Skarsgard. While it’s definitely a bold and ambitious that is flawed at times, it is still very compelling for the way it explores a woman and her sexuality as well as her descent into depression. It’s also a film that is willing to ask some very big questions about women and their idea of sexuality where it will definitely raise discussions about the concept of nymphomania. In the end, Nymphomaniac is a rapturous and spectacular film from Lars von Trier.
The Element of Crime - Epidemic - Medea - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2-Idioterne - Dancer in the Dark - The Five Obstructions - Dogville - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - The House That Jack Built - The Kingdom: Exodus - (Etudes)
Related: The Auteurs #7: Lars von Trier
© thevoid99 2014
Based on the comics by Stan Lee, Jack Kirby, and Larry Lieber, Thor: The Dark World is the story about Thor facing an ancient enemy who threatens to destroy his home planet of Asgard following a chilling discovery from Jane Foster that would threaten everything. Directed by Alan Taylor and screenplay by Christopher Yost, Christopher Markus, and Stephen McFeeley from a screen story by Don Payne and Robert Rodat. The film is a sequel to 2011’s Thor where the titular character deals with new enemies and the responsibility of taking over the throne of Asgard from his father Odin as Chris Hemsworth reprises the role of Thor. Also starring Natalie Portman, Tom Hiddleston, Stellan Skarsgard, Rene Russo, Idris Elba, Jaimie Alexander, Christopher Eccleston, Adewale Akinnuoye-Agbaje, Kat Dennings, Ray Stevenson, Chris O’Dowd, Zachary Levi, Tadanobu Asano, and Anthony Hopkins as Odin. Thor: The Dark World is a sensational yet entertaining film from Alan Taylor.
The film is about an ancient enemy known as Dark Elves who suddenly find themselves returning after Jane Foster (Natalie Portman) discovered some portals that led her to a world where a dark mystical power was seeped into her. When Thor learns about what Jane discovered, he takes her back to Asgard so that his father King Odin can see if he can help only to realize that the Dark Elves led by Malekith (Christopher Eccleston) is only keen on destroying the universe after being nearly wiped away by Odin’s father Bor (Tony Curran). What the film does is have Thor take risks in not just saving his planet and Jane but also the universe where he realizes that he has to do things that his father wouldn’t do that would include getting the help from his estranged adopted brother Loki (Tom Hiddleston).
The film’s screenplay does take its time to showcase Thor’s growth into this warrior who definitely seems more grounded in the previous film as he becomes a much more mature individual who is also quite witty but still longs for Jane. When Heimdall (Idris Elba) tells Thor that he couldn’t see Jane, it has Thor trying to figure what is happening to her while there’s something far more sinister that is happening just as all nine realms are to line up for this event known as the Convergence where all portals from the nine realms are to open. With Malekith re-awaken, he decides to use this moment as well as Jane’s discovery of the dark power known as Aether to rebuild the world of the Dark Elves and regain darkness back to the universe. While the script does have a lot of exposition that occurs in order to make sense of the film’s plot. The script does manage to showcase a lot of the other characters such as Thor’s mother Frigga (Rene Russo) who is an important link to Thor’s relationship with Loki.
There’s also some comical moments that occur that includes Jane’s mentor Dr. Erik Selvig (Stellan Skarsgard) going crazy as he’s still recovering from the events that occurred in The Avengers prompting Jane’s intern Darcy (Kat Dennings) and Darcy’s intern Ian (Jonathan Howard) to get Selvig who makes a discovery about the Convergence. It would lead to some very intense moments that mixes action and humor where there’s a showdown between Thor and Malekith in London that also involves the Dark Elves and portals. Notably as it’s Thor trying to do whatever he can to just save the world and realizes the kind of attributes that he needs to succeed his father as King of Asgard.
Alan Taylor’s direction is definitely sprawling in terms of the set pieces that is created as it is a film that is big but also some intimate moments. Notably as Taylor makes sure that many of the visual effects and large set pieces don’t overwhelm the story. Even as Taylor does create some intimate moments that takes place in London where Jane tries to deal with her feelings for Thor as well as the scientific discovery that she and Darcy make that would lead to Jane being teleported into another world that has her discovering the Aether. The scenes in London are very simple with Taylor going for something straightforward but also add some comedy into the mix.
The scenes set in the Dark Elves’ planet as well as other places outside of Asgard is shot in Iceland where it has this very desolate world that is a total representation that Malekith wants. Especially that is sharp contrast to the more sprawling and regal world that is Asgard that Thor wants to protect as he isn’t just concerned for its people that he cares for but also everything his father and grandfather had fought for. Even as he has to get Loki to help him in the hopes as Thor can re-forge the bond that he had with the man whom he had called brother. Most notably as it leads to this massive climax where Taylor knows how to mix humor and action into the mix. Overall, Taylor creates a very extravagant yet exciting film about a hero taking more risks in what to do to save the world.
Cinematographer Kramer Morgenthau does excellent work with the film‘s cinematography from the straightforward look for the scenes in London to some of the more eerie lighting schemes for the scenes set at the Dark Elves‘ old home planet. Editors Dan Lebental and Wyatt Smith do terrific work with the editing by using some fast, rhythmic cuts for some of the film‘s action and humor while slowing down for the dramatic moments. Production designer Charles Wood, with supervising art director Ray Chan and set decorators Gueni Lindal Benediktsson and John Bush, does fantastic work with the set pieces from the look of Asgard as well as the design of the Dark Elves ship that would bring terror to Earth and Asgard.
Costume designer Wendy Partridge does amazing work with a lot of the costumes for the scenes set in Asgard as it has this mixture of old medieval look that Thor and his people wear. Makeup designer Elizabeth Yianni-Georgiou does brilliant work with some of the makeup including the look of Malekith. Visual effects supervisor Mark Breakspear does nice work with the visual effects for some of scenes set in space as well as some of the exteriors of Asgard. Sound designer Will Files and Shannon Mills do superb work with the sound to create some unique sound effects as well as play into some of the chaos that goes in the fight scenes. The film’s music by Brian Tyler is wonderful for its orchestral bombast to play into some of the film’s action and suspense as well in some of the more somber pieces for the dramatic moments.
The casting by Sarah Finn does marvelous work with the casting as it includes some notable small roles from Tony Curran in a prologue scene as Odin’s father Bor, Alice Krige as an Asgardian physician, Chris O’Dowd as a man Jane meets early in the film for a lunch date, Jonathan Howard as Darcy’s intern Ian, and Adewale Akinnuoye-Agbaje as Malekith’s lieutenant Algrim who causes havoc in Asgard. The casting also features some pretty funny cameos such as Stan Lee as a mental ward patient and Chris Evans as Loki pretending to be Captain America. As the members of the Warrior Three, Ray Winstone, Tadanobu Asano, and Zachary Levi are all terrific in their respective roles as Volstagg, Hogun, and Fandral with Winstone and Levi providing some humor. Jaimie Alexander is wonderful as Thor’s friend Sif who aids Thor while dealing with the presence of Jane Foster as she also has feelings for Thor.
Rene Russo is fantastic as Frigga as Thor’s mother who ensures that Loki stays alive following his actions in The Avengers as she becomes a key crucial point in the film for Thor and Loki as she also proves to be a total badass. Stellan Skarsgard is excellent as Dr. Erik Selvig who is still trying to deal with the post-traumatic stress of the events in The Avengers where he makes a big discovery while doing some funny things that involve him not wearing pants. Kat Dennings is hilarious as Jane’s intern Darcy as she not only has some of the film’s funny one-liners but also does things to help ensure that Thor’s plan to stop Malekith would work in some funny results. Idris Elba is incredible as Heimdall as the watcher of the Nine Realms who realizes the magnitude of the situation as he helps Thor out in defeating the Dark Elves. Christopher Eccleston is amazing as Malekith as this very dark individual who seeks revenge for what happened to him and his people as he does whatever it takes to take Thor down.
Anthony Hopkins is great as Odin where he’s still a bit of a cantankerous old man but also tones it down a bit as he still struggles to balance his role as king and father while aware of what Thor is trying to do. Tom Hiddleston is awesome as Loki as Thor’s adopted brother as a man who is slimy but fun as he helps Thor out in dealing with Malekith as well as trying to find something that he can gain. Natalie Portman is superb as Jane Foster as she does more than in the previous film as young woman who makes a chilling discovery while trying to deal with all of the chaos as well as finding ways to help save the world. Finally, there’s Chris Hemsworth in a remarkable performance as Thor as Hemsworth brings some humor to the role that is quite low-key but also a humility as a man who still questions his worth to become a king as it helps make Thor more engaging proving that Hemsworth is right for the part.
Thor: The Dark World is an excellent film from Alan Taylor that features brilliant performances from Chris Hemsworth, Natalie Portman, and Tom Hiddleston. The film isn’t just a much looser and more entertaining film than its predecessor but allows the audience to be engaged by its protagonist as well as find ways that makes him relatable. In the end, Thor: The Dark World is a extraordinarily broad yet stellar film from Alan Taylor.
Marvel Cinematic Universe: Infinity Saga: Phase One Films: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Marvel Phase Two Films: Iron Man 3 - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Marvel Phase Three Films: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
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