Dimension (2010 film)

 

Directed by Lars von Trier and written by von Trier and Niels Vorsel, Dimension is an unfinished gangster film made from 1991 to 1997 that was an experimental project that was to consist of four-minute segments that was to be shot in a period of 33 years. It is a project that explores von Trier’s desire to experiment with a group of actors on something that was to be unique but never to be due to the deaths of a few actors as the result is a 27-minute short of what could’ve been. Starring Jean-Marc Barr, Stellan Skarsgard, Udo Kier, Katrin Cartlidge, Ernst-Hugo Jaregard, Baard Owe, Birgitte Raaberg, Jens Okking, and Eddie Constantine. Dimension, in its unfinished form, is a fascinating and inventive experimental short film by Lars von Trier.

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

The Kingdom Exodus

 

Based on the 1994 and 1997 TV miniseries by Lars von Trier, Riget: Exodus is the belated third season in which a sleepwalker returns to the doomed hospital where a lot of strange incidents occurred more than 25 years ago. Directed by Lars von Trier and written by von Trier and Niels Vorsel, the third season isn’t just a return to the haunted hospital in which a lot of chaotic elements occurred but also those who return seeking answers into their conditions. Starring Bodil Jorgensen, Mikael Persbrandt, Lars Mikkelsen, Nikolaj Lie Kaas, Tuva Novotny, David Dencik, and special appearances by Alexander Skarsgard and Willem Dafoe. Riget: Exodus is a terrifying, witty, and audacious TV miniseries from Lars von Trier.

25 years since the release of Riget II that ended with a conclusion that were left with more questions than answers into the fates of many of its characters. It was an ending that was widely considered unsatisfying and for the longest time, it looked like there were going to be unanswered since several actors from the first two mini-series have died. Death is a prominent theme in the third and final part of the mini-series yet it takes place 25 years after what happened as it revolves around a sleepwalker in Karen (Bodil Jorgensen) who is watching the finale of Riget II as she wakes up from her sleep as she walks into the Kingdom as she is given a mission to finish what Mrs. Drusse was trying to uncover. Like the two mini-series before, each episode opens with images of people washing clothes onto a swamp known as bleach pools is where the Kingdom would be built and it would end with Lars von Trier talking to the audience about what had happened on the episode as well as telling the audience to take the good with the evil. This time around, von trier only appears behind the curtains as a way to hide his current-self due to his Parkinson’s diagnosis with only his shoes appearing.

The teleplay by von Trier and Niels Vorsel does keep the same narrative structure like in the miniseries before except there’s a lot more chaos around from within as well as this conflict between the Swedes and the Danes with several Swedes working in a hospital as they all have to try and hide their identities with many of them converging into a group meeting known as Swedes Anonymous. There are five episodes in this season instead of four in the two previous seasons though each episode has a cold open with the first one entitled Halmar having Karen watching Riget II on DVD as the season has a lot of mentions and references to the previous show with complaints over its lack of realism and how they blame von Trier for ruining the hospital’s reputation. Several characters from the previous seasons such as Jorgen “Hook” Krogshoj (Soren Pilmark), Judith Petersen (Brigitte Raaberg), Rigmor Mortensen (Ghita Norby), Morten “Mogge” Moesgaard (Peter Mygind, Little/Big Brother (Udo Kier), Mona (Laura Christensen), the secretary Fru Svendsen (Birthe Neumann), Director Bob (Henning Jensen), and Camilla (Solbjorg Hojfeldt) do return as it play into their own fates and what had happened to them. Yet, von Trier and Vorsel chooses to focus on not just the new characters but also this growing chaos within the hospital that is coming out during the Christmas holidays.

In Halmar Stig Helmer Jr. (Mikael Persbrandt) arrives to the Kingdom from Sweden to oversee and observe the hospital’s operations if it lives up to standards similar to Sweden as he tries to not cause or bring trouble. Instead, he learns that Danes have managed to live up to standards but also with ideas that are confusing as its manager Pontopidan (Lars Mikkelsen) is trying to avoid conflict and chaos while also dealing with insomnia and the presence of Mortensen who annoys him whenever they meet in the elevator. Among the main people in the staff that Helmer has to deal with is the irritable Filip Naver (Nikolaj Lie Kaas), Mogge, and the Swedish nurse Anna (Tuva Novotny) whom he would be attracted to yet she would sue him for sexual harassment in the second episode entitled The Congress Dances where the two both go to the Swedish lawyer (Alexander Skarsgard) who does his practice in a bathroom like his father did before him in the second season where Helmer learns about his father upon meeting Mortensen. That episode revolves around a conference focusing on pain hosted by Pontopidan while Karen is aided by the attendant Balder (Nicolas Bro) to become a patient in the neurosurgery ward where she meets the nurse Camilla who is haunted by the presence of an evil figure who has arrived in the Grand Duc (Willem Dafoe) who learns what Karen is trying to do.

The third episode Big Brother relates to the character and his whereabouts along with the whereabouts of Mona and the remains of Mrs. Drusse at swamp underneath the hospital as Karen realizes her mission as they find Judith Petersen who is given a chance to redeem herself. Even as she would also get the antidote that Helmer’s father had to get Hook out of his cruel state as he had been banished from the hospital due to what happened at the end of the second season. Helmer meanwhile gets the ire of Naver following a surgery where it was performed on Karen instead of a different patient as Helmer endured an act of humiliation because of Denmark’s strange approach to justice that forces him to get revenge for himself and his father upon learning what happened to his father. The fourth episode Barbarossa is about Helmer’s plan for revenge with help from Anna, the computer technician/hacker Kalle (Ida Engvall) and the kitchen worker Bosse (David Dencik) in committing acts of terrorism through small means. Having saved Big Brother during a massive heart surgery, Judith reunites with her son while Karen brings in a box of blocks for Mona who finishes her message that unveils a massively shocking revelation for Helmer.

Its finale entitled Exodus is the culmination of everything as Helmer’s plan to take over failed due to this revelation with Anna being punished and humiliated forcing the two to quit the Kingdom. Even as Karen and Balder deal with their doppelgangers with Hook’s help in his own quest for redemption as they make some discoveries about the location of the Kingdom just as the Grand Duc does whatever he can to stop them. Even as chaos looms all over the hospital as the Grand Duc awaits the arrival of his master. It all plays into this event for the entire series as its ending is pure von Trier not just in this idea of death but also a cruel fate for a key character of the entire series.

The direction of von Trier is definitely stylish though it opens in a letterboxed presentation with full colors where Karen watches Riget II at home complaining about its ending only to later wake up and arrive at the Kingdom where the aspect ratio changes to a 1:66:1 aspect ratio with sepia-drenched colors to return to the look of the entire series. The direction, with additional work by Christian E. Christiansen, is presented with a lot of hand-held cameras with some slanted camera angles but also some unique tracking shots with its emphasis on wide shots to get a scope of the hospital as a whole along with shots of the locations with the bridge that borders Denmark and Sweden. There are also medium shots and close-ups that do play into von Trier’s vision including the scenes that mirror moments from the previous seasons including two characters in the dishwashers in the midget-like male dishwasher (Jesper Sorensen) and a female robotic arm (voice of Jasmine Junker) who both serve as a Greek chorus of sorts as, like their predecessors, are the smartest people in the entire building.

The direction also has von Trier play into many things that relates to the miniseries and himself such as a scene of Anna trying to seduce Helmer only to later sue him for sexual harassment in The Congress Dances as well as a humiliating event in the elevator in Barbarossa where Anna jumps over the sight of a snake with her pants falling down and Helmer catching her with many believing Helmer is raping her. It plays into many of von Trier’s own accusations in sexual harassment as Helmer is someone that doesn’t want to offend any woman or do the wrong thing but is often put in compromising situations that doesn’t make himself any better as he turns to the Swedish attorney as it is told with a lot of humor. The series has von Trier continuing many gags as it relates to director Bob trying to play Solitaire on his computer while dealing with warts, wasteful liquids, and issues with another hospital in Copenhagen that has a proton accelerator.

By the time it reaches the finale, there are these elements that doesn’t just play into Sweden’s issues with Denmark as it plays into this sense of superiority from the former towards the latter but also the fact that the latter have a weird idea of justice and such where those who are punished are put into the stocks and get kicked in the ass. It would add to not just Helmer’s hatred of the Danes as he would say the words that his father often said at the end of every episode from the past but he would gain an ally in Anna who too would be humiliated by the Danes. It all plays into locations where von Trier would use it for this major climatic moment but there are a lot of things as it relates to the hospital’s origins with the Grand Duc wanting to destroy all no matter who it is. All of which has him awaiting the arrival of his master who does unveil himself as it has this dark sense of humor while its final shot post-credit is also a form of humor as it plays into everything that had happened. Overall, von Trier crafts a fucking insane, horrifying, disgusting, and hilarious TV mini-series about a hospital where a lot of bad shit goes on with an old woman trying to uncover its mystery as well as deal with some bad people.

Cinematographer Manuel Alberto Claro does brilliant work with the miniseries’ cinematography from the usage of stylish lights and colors for the first episode’s cold open to the sepia-drenched look of the entire series with its emphasis on available light including for many of the scenes set at night. Editors Olivier Bugge Coutte, Jacob Secher, Schulsinger, and My Thordal do excellent work with the editing with its usage of straight cuts, some jump-cuts to play into some of the chases and other bits that add style to the entire miniseries. Production designer Simone Grau Roney and art director Cecilia Hellner do amazing work with the look of the interiors as well as the designs of some of the new places such as the corridors that lead to the swamp and the rooms/offices of the doctors. Costume designer Manon Rasmussen does nice work with the look of the costumes from the refined look of Helmer to the more casual look of everyone else in the miniseries that also include Santa hats.

Prosthetics and makeup effects designer Love Larson does nice work with the look of a few characters with Big Brother being the most notable as well a few mysterious characters including the design of a discovery that Kalle and Balder found. The visual effects by Laurent Ravicini and Peter Hjorth is terrific as it play into some of the supernatural elements including the scenes in the swamp. Sound designer Eddie Simonsen does superb work with the sound as it play into the atmosphere of the locations and in the rooms as well as the sounds of ghosts and natural disasters that would occur throughout the miniseries. The miniseries’ music consists of score pieces from the previous series by Joachim Holbek including its main theme as it also include some classical pieces and contemporary music with some of it played on location as well as a score piece performed by Eduard Artmeyev as a homage to the film Solaris.

The miniseries’ ensemble cast is great as it feature some notable small roles and guest appearances from Solbjorg Hojfeldt as the nurse Camilla who is haunted by words relating to the Grand Duc, Jesper Sorensen and Jasmine Junker as the dishwaters who serve as the Greek chorus for the series, David Dencik as a kitchen worker who is part of the Swedes Anonymous group, Peter Mygind as Morten “Mogge” Moesgaard as a doctor who works in the hospital though there’s questions about his fate at the end of the second miniseries, Soren Pilmark as Jorgen “Hook” Krogshoj who has been banished from the main hospital grounds as he’s been grouchy and disdainful until an anecdote brought him back to his old self as he would help Karen and Balder, Brigitte Raaberg as Judith Petersen as a former neurosurgeon turned cardiologist who laments over the loss of her son until she gets a chance to redeem herself and reunite with him, Ghita Norby as Helmer Sr.’s widow Rigmor Mortensen as a former doctor who annoys Pontopidan in the elevators while being amputated as she meets Helmer about his father, Birthe Neumann as the secretary Fru Svendsen who tries to keep things in bay as she endures the chaos that is going on, and Laura Christensen as a brain-damaged patient of Helmer Sr. in Mona who is in a swamp as she is eager to finish her message about Helmer Sr.

Henning Jensen is terrific as director Bob who deals with a lot of things as he hopes to be better than a rival hospital while trying to master Solitaire despite some difficulty. Udo Kier is superb as Big Brother as Judith’s deformed son who has been drowning on his tears as he is dying while he also copes with the terror in the hospital as it relates to where it was built. Alexander Skarsgard is fantastic in his small role as the Swedish attorney as he takes over his father’s practice by doing things in a bathroom as he deals with his clients but also his disdain for the Danes. Ida Engvall is excellent as the Swedish computer technician/hacker Kalle who also harbors disdain towards the Danes but is also someone who can get things done while Nikolaj Lie Kaas is hilarious as the irritable Naver as a surgeon who is often annoyed and lashes out while he also does something disgusting with his eye that disgusts people. Lars Mikkelsen is brilliant as Pontopidan as the hospital floor manager who deals with insomnia as he loves to sleep on a bag of peas while also coping with a lot of the chaos where he prefers not to be confrontational.

Willem Dafoe is incredible as the Grand Duc as this mysterious evil figure who is an agent of chaos as he does what he can to stop Karen while creating doppelgangers of her and Balder as a way to stop them with Dafoe also speaking Danish throughout the series. Tuva Novotny is great as Anna as a Swedish nurse who hides her background as she tries to seduce Helmer but through awkward means as she would sue him and such only to get into trouble of her own as well as trying to hold on to her pants. Mikael Persbrandt is phenomenal as Stig Helmer Jr. as a renowned Swedish surgeon who arrives in Denmark only to deal with a lot of things that upset him as he learns more about his father and why his father hates the Danes where he brings a lot of wit to his performance. Nicolas Bro is sensational as Balder as an attendant, who is called Bulder by many in reference to the character from the series, who helps Karen with her quest while dealing with the chaos at the hospital despite some of his clumsiness and such. Finally, there’s Bodil Jorgensen in a tremendous performance as Karen as a sleepwalker who also has a personality in which she speaks in another voice where she goes to the hospital to finish Mrs. Drusse’s mission where she learns about the hospital as well as the evil forces in the hope she can save it despite the many obstacles she goes through.

Riget: Exodus is an outstanding TV miniseries from Lars von Trier. Featuring a great cast, eerie visuals, a great mixture of suspense and dark humor, and giving audiences of the previous miniseries a fitting conclusion. It is a miniseries that doesn’t just play into the world of terror, hospital dramas, and other weird shit but it also a miniseries that all play into the world of death and the inevitable as it relates to death. If this miniseries is to become Lars von Trier’s final project due to his Parkinson’s disease, then what a way to go out. In the end, Riget: Exodus is a magnificent TV miniseries from Lars von Trier.

Lars von Trier Films: The Element of Crime - Epidemic - Medea (1988 TV film) - Europa - The Kingdom - Breaking the Waves - The Kingdom II - Dogme #2: Idioterne - Dancer in the Dark - Dogville - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - (Etudes)

Related: Favorite Films #3: Breaking the Waves - The Auteurs #7: Lars von Trier

© thevoid99 2023

The Lords of Salem

Written and directed by Rob Zombie, The Lords of Salem is the story of a radio disc jockey whose life changes after listening to a strange recording relating to a coven of witches in her hometown of Salem, Massachusetts. The film is an exploration into the many historical aspects about Salem and its witches where a radio DJ becomes entranced by this dark culture of Satanic witches. Starring Sheri Moon Zombie, Bruce Davison, Judy Geeson, Patricia Quinn, Maria Conchita Alonso, Dee Wallace, Jeff Daniel Phillips, and Meg Foster. The Lords of Salem is an eerie and chilling film from Rob Zombie.

The film follows the week in the life of a radio disc jockey who is given a mysterious record by a group called the Lords as it feature strange recordings as it involve an infamous coven of witches from Salem dating back to the 17th Century. Set in Salem, Massachusetts, the film revolves around the myth about this coven of Satanic-worshipping witches where this disc jockey becomes entranced by its recording as she starts to see strange things around her. Especially as a writer about the Salem witch trials makes a discovery about the recording that was played as well as the family that the disc jockey is from. Rob Zombie’s screenplay definitely play into these legendary stories about the Salem witch trials of the 17th Century but also how it would remerge in modern-day Salem where it would haunt this woman who is also a recovering drug addict. The images she sees definitely blur the line into what is real but also what is surreal as the character of Heidi La Rock (Sheri Moon Zombie) would anguish over these hallucinations as well as the contents of these mysterious recordings.

Zombie’s direction is definitely stylish in terms of the compositions and moods that he creates. Shot on location in Salem, Massachusetts with some scenes shot in California, Zombie maintains an air of simplicity to many of the exteriors set in Salem as if it is this quaint little town with this dark history. While there are playful elements in the film such as the scenes of Heidi working with her other disc jockeys playing music. Zombie maintains something that is very eerie in his approach to the compositions as it include these intimate moments at the apartment that Heidi lives at which includes a room that no one lives at where it is at the heart of the mystery in the film. Once Heidi discovers what is in there, Zombie adds elements of dazzling surrealism into the film as well as maintain a slow but eerie momentum into the horror and suspense.

Especially in the third act where her character descends into darkness while the writer Francis Matthias (Bruce Davison) would make a chilling discovery about Heidi and what is happening in Salem. Zombie would also put in these moments that play into what is coming where the third act is key to what is happening to Heidi and what is coming for the women in Salem who are the descendants involved in the burning of those witches. Zombie’s eerie compositions with the usage of the wide and medium shots capture a lot of coverage to what is happening as well as create something that is scary but also beautiful. Overall, Zombie creates a haunting yet evocative film about a woman’s encounter with the witches of Salem in the modern world.

Cinematographer Brandon Trost does brilliant work with the film‘s cinematography as it has a graininess that is just fitting for the film while it has some gorgeous lighting for some of the interior scenes at night as well as maintain something straightforward for the daytime scenes. Editor Glenn Garland does excellent work with the editing as it‘s usage of jump-cuts, stylish montages, and some unique rhythmic cuts to play into the suspense is a highlight of the film. Production designer Jennifer Spence and set decorator Lori Mazuer do amazing work with the look of the theatre halls and rooms for some of the ceremonies as well as creating something straightforward and stylish in Heidi‘s apartment room and the radio booth she works at. Costume designer Leah Butler does nice work with the costumes from the ragged yet stylish look of Heidi as well as the very creepy look of the witches in the flashback scenes.

Special makeup effects artist Brian Rae does fantastic work with the look of the witches for the 17th Century sequences as well as some of the creepy makeup Heidi would wear in the surrealistic moments. Visual effects supervisor Craig A. Mumma does terrific work with the film‘s minimal visual effects as it play into some of the scary and surreal sequences as it has this air of realism in its look. Sound editor Eric Lalicata does superb work with the sound as it has these unique textures to play into the suspense in some of the sparse and low mixes as well in some of the intense moments of terror. The film’s music by John 5 and Griffin Boice is incredible for its mixture of ambient and blues-based guitar to these haunting moments of music that is key to the discovery of what Heidi would encounter while music supervisor Tom Rowland creates a soundtrack of different kinds of music from artists/acts like Rick James, Rush, Manfred Mann’s Earth Band, and the Velvet Underground as well as classical pieces from Johann Sebastian Bach and Wolfgang Amadeus Mozart.

The casting by Monika Mikkelsen is marvelous as it feature some appearances and small roles from Udo Kier as a witch hunter, Torsten Voges as a death-metal singer, Richard Fancy as an expert of the Salem witch hunt that Francis turns to, and Andrew Prine as Reverend Jonathan Hawthorne as the man who would take down the coven back in the 17th Century and leave behind recollection of these events. Other notable small roles include Ken Foree as the smooth disc jockey Herman “Munster” Jackson and Maria Conchita Alonso as Francis’ wife Alice who would play the piece on piano that is similar to the recording that is haunting the town of Salem. Dee Wallace and Patricia Quinn are fantastic in their respective roles as Lacy’s sisters Sonny and Megan with Wallace as lively sister who makes great tea and Quinn as the quirky British sister who can do palm reading. Meg Foster is excellent in the role of the coven leader Margaret Morgan as this mysterious yet feral woman who exudes all of the aspects of evil as it is just this very scary role.

Judy Geeson is brilliant as Lacy as Heidi’s landlord who is concerned for her but also carries a mysterious secret that is very intriguing. Jeff Daniel Phillips is superb as Herman “Whitey” Salvador as radio disc jockey who works with Heidi as he becomes increasingly concerned for her well-being. Bruce Davison is amazing as Francis Matthias as this writer about Salem witches who makes a key discovery based on a record that was played during a radio interview as he goes more into depth over the witch hunt and trial. Finally, there’s Sheri Moon Zombie in a phenomenal performance as Heidi La Rock as a radio disc jockey and recovering drug addict that is haunted by a recording she has listened to as she becomes anguished into the things she sees while being on edge into what is happening to her.

The Lords of Salem is a remarkable film from Rob Zombie. Featuring a great cast, gorgeous visuals, provocative themes on witches and evil, and a killer music soundtrack. The film is definitely Zombie’s most accomplished film to date as it has an atmosphere and air of darkness that is common with horror films but also not afraid to not take itself seriously. In the end, The Lords of Salem is a sensational film from Rob Zombie.

Rob Zombie Films: (House of 1000 Corpses) - (The Devil’s Reject) - Grindhouse-Werewolf Women of the S.S. - (Halloween (2007 film)) - (Halloween II (2009 film)) - (The Haunted World of El Superbeasto) - (31 (2016 film))

© thevoid99 2016

2015 Blind Spot Series: Suspiria

Based on the essay Suspiria de Profundis by Thomas De Quincey, Suspiria is the story of an American ballet student who attends a German ballet academy as she deals with its surroundings and a series of strange events. Directed and narrated by Dario Argento and screenplay by Argento and Daria Nicolodi, the film is an exploration into the supernatural and a woman who goes into the unknown as she copes with fear of this unknown. Starring Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bose, Alida Valli, Udo Kier, and Joan Bennett. Suspiria is a rapturous yet terrifying film from Dario Argento.

A young American ballet student arrives in Munich to attend a prestigious ballet academy where she encounters a series of strange events that led to the deaths of a few who either left the academy or were forced out. It’s a film that plays into a woman who wonders if this academy that she was asked to be in has some kind of secret where the first thing she sees on her arrival is a young woman leaving in terror as she screams some words during the rain. The film’s screenplay by Dario Argento and Daria Nicolodi doesn’t exactly play into traditional horror as it’s more about Suzy Bannon (Jessica Harper) coping with her surroundings but also the strange events that is happening where her roommate Sarah (Stefania Casini) believes that something is going on. Especially when certain things happen around Munich to a few characters as it seems like the ones who are killed are those who have antagonized someone in the academy. It adds to the since of intrigue and suspense where Suzy would ask questions about what is going on just as the pile of deaths start to get bigger.

Argento’s direction is very mesmerizing for not just the usage of the anamorphic lenses which captures a great depth of field of the rooms at the academy. It also helps establish a world that is unlike anything from its usage of the locations in Munich to the places some of the characters go to. Much of it is presented in a very stylish manner with lots of red as a backdrop of sorts as well as some lavish colors in some of the hotels and places where the film takes place. Argento’s approach to wide shots as well as some intricate dolly, tracking shots, and some stylish crane shots help play into the atmosphere of some scenes where it’s not about the suspense or horror but rather to play into what these characters are doing at the ballet studio. Even a simple scene where a child stares at a blind man’s dog would have a lot to say but would also create moments to slowly set-up the suspense.

The scenes of terror such as a sequence early in the film where this young woman named Pat (Eva Axen) who had just left the academy ponders what is chasing her. The moments of terror are swift as red definitely serves as a symbolic color not just because it’s the color of blood but also something much more. Argento’s approach to using colored lights help add to the atmospheric tone of the film while knowing where to play with the rhythms of suspense. Especially in the film’s climax where Suzy is forced to wonder what is really going on in this academy as it slowly unveils itself as there is also that sense of dread of something bad is about to happen. Overall, Argento crafts an intoxicating yet unsettling film about a young woman who goes to a place where dark things happen that she doesn’t know about.

Cinematographer Luciano Tovoli does incredible work with the film‘s cinematography with its usage on lights and color for many of the interior scenes including the ones set at night as it adds a lot to the look and tone of the film as it is one of the film‘s major highlights. Editor Franco Fraticelli does excellent work with the editing with its usage of jump-cuts and other stylish cuts to help play into the film‘s suspense and horror. Production designer Giuseppe Bassan does fantastic work with the design of the apartment the character Pat goes to early in the film as well as the look of the academy in its interior/exterior settings. Costume designer Pierangelo Cicoletti does brilliant work with the costumes as they all have an air of style to distinguish some of the characters including the very innocent Suzy who wears simple dresses and other clothes to play into her personality.

Makeup supervisor Pierantonio Mecacci does terrific work with the makeup for some of the characters including those who get killed in some of the most gruesome ways. The special effects work of Germano Natali are superb for some of the key elements that play into some of the film‘s terrifying moments including a very chilling scene at a plaza. Sound recordist Mario Dallimonti and the sound effects work of Luciano Anzellotti do amazing work with the sound as it helps create an air of suspense and atmosphere into some of the scenes as well in some of the film’s quieter moments. The film’s music by Dario Argento and the progressive rock band Goblin is phenomenal as it is another major highlight of the film with its discordant approach to progressive rock with its haunting keyboard textures, bombastic percussions, chilling string pieces, and all sorts of arrangements as doesn’t just help play to the horror but manages to do a lot for the film as it is one of the finest scores in horror.

The film’s remarkable cast include some notable small roles from Franca Scagnetti as a mysterious cook, Jacopo Mariani as a young boy living at the academy named Albert, Eva Haxen as the student who fled the academy in Pat Hingle, Barbara Magnolfi as the vivacious ballerina Olga, Udo Kier as a psychologist Suzy talks to about what is happening, and Rudolph Schundler in a superb performance as Professor Milius as a man who tells Suzy what he might know about what is happening at the academy. Miguel Bose is terrific as the silent but chilling servant Mark who always deliver food and wine to Suzy during her illness while Flavio Bucci is excellent as the blind pianist Daniel who gets accused of having his dog attack Albert.

Joan Bennett is fantastic as the academy co-director Madame Blanc as this mysterious woman who starts off as very kind and always listening to Suzy but has an element of ambiguity that makes her more compelling. Alida Valli is brilliant as Miss Tanner as this dance instructor who is stern but fair as she is also very ambiguous while being very antagonistic towards those who either question or criticize the academy. Stefania Casini is amazing as Sarah as a ballerina who believes something is up as she tries to figure out what is going on while giving notes to Suzy in case something happens to her. Finally, there’s Jessica Harper in a remarkable performance as Suzy Bannon as an American ballet student who arrives at this mysterious academy where she becomes ill as she wonders what is going as it’s a performance that does contain the conventions of horror but also one that is engaging.

Suspiria is a magnificent film from Dario Argento. Filled with a great ensemble cast, exotic visuals, intricate art direction, and a hellacious score by Goblin. The film is truly not just one of the finest films for the horror genre but also one that isn’t afraid to be style over substance. Especially as it plays into a heightened sense of reality where no one is safe and everything could be some form of dark reality with lots of blood. In the end, Suspiria is an outstanding film from Dario Argento.

Dario Argento Films: (The Bird with the Crystal Plumage) - (The Cat o’ Nine Tails) - (Four Flies on Grey Velvet) - (The Five Days) - (Deep Red) - (Inferno) - (Tenebrae) - (Phenomena) - (Opera (1987 film)) - (Two Evil Eyes) - (Trauma (1993 film)) - (The Stendahl Syndrome) - (The Phantom of the Opera (1998 film)) - (Sleepless (2001 film)) - (The Card Player) - (Do You Like Hitchcock?) - (The Mother of Tears) - (Giallo) - (Dracula 3D)

Related: Suspiria (2018 film)

© thevoid99 2015

Medea (1988 TV film)

Based on the Greek tragedy written by Euripides, Medea is the story of a woman who seeks revenge on her husband following a betrayal. The 1988 TV film version is directed by Lars von Trier with an unreleased screenplay written by legendary Danish filmmaker Carl Theodor Dryer and Preben Thomsen. With additional work by von Trier, the TV movie would explore some of the themes of women and the sacrifices they’ve made that von Trier would delve into for his work in the late 1990s. Starring Kirsten Olesen, Udo Kier, Henning Jensen, Baard Owe, Solbjord Hofeldt, Preben Leidorrf Rve, and Ludmilla Glinska. Medea is a visually-arresting yet chilling TV film from Lars von Trier.

After being betrayed by her husband Jason (Udo Kier) following the Golden Fleece adventures as he is to be rewarded by King Creon (Henning Jensen) who gives Jason his daughter Glauce (Ludmilla Glinska). Medea (Kirsten Olesen) vows revenge for Jason’s betrayal as Creon and, later on, Jason each plea for Medea to make a case for her upcoming exile from the land. However, Medea has plans of her own as she gains refuge from oracle leader Aegeus (Baard Owe) in return to help him with wanting a child for himself and his wife. Before she goes to Athens with Aegeus, she would meet Jason one final time to make way for her revenge on him.

The TV film based on Euripides’ play is essentially a tale of revenge where a scorned woman makes a plan to seek revenge on her husband who betrayed her for power, wealth, and a younger woman. In turn, she decides to make a plan for him to suffer in the same way she has suffered in his betrayal but in the most extreme way. The script by Carl Theodor Dreyer and Preben Thomsen, with additional work by Lars von Trier, has a very theatrical feel to its dialogue and scene placements. Still, it’s all about this woman’s desire for revenge as she would do things to make her husband suffer where she would also sacrifice something to ensure that suffering. There’s not much plot to the script although there are some well-rounded characters. It all revolves around Medea and her own plans for vengeance.

While Lars von Trier’s direction has a great degree of visual style where some of it owes to the work of Dreyer. Some of the visual trick he uses such as gazing images of nature is definitely inspired by the works of Andrei Tarkovsky. While the film opens with text where von Trier claims he’s not trying to make a Dreyer film. Some of what von Trier is claiming is sort of true as he employs some hand-held work into some of the intimate moments and medium shots in the film. The landscape shots have this wide depth of field where it includes some aerial work involved. One of the key elements of style von Trier uses in the film are superimposed images to create this very surreal world that the characters live in as it works to maintain that sense of fantasy. Overall, von Trier has created a truly dazzling TV film that is provocative but also captivating.

Cinematographer Sejr Brockmann does an excellent job with the film‘s grainy yet monochrome cinematography that gives the TV film a very entrancing look with some dreary settings for the swamp scene where Croen tries to talk to Medea. Editor Finnur Sveinsson does a nice job with the editing that is quite stylized with its use of jump-cuts and fade-outs while maintaining a leisured pace for the TV film. Costume designer Annelise Bailey does a very good job with the period costumes made such as Medea‘s black dress to the more free-flowing dress of Glauce.

The special effects by Soren Buus does an extraordinary job with the visual effects created to add a surrealism to the fantasy sequences that occur between Medea and Jason. Sound editor Thomas Krag does a terrific job with the sound work to emphasize the chilling atmosphere of the exteriors to the hollow sounds of the castle Creon lives in. The music of Joachim Holbek is truly haunting from its brooding orchestral pieces to more ominous electronic touches to play up the dramatic portions of the TV film.

The cast for the TV film is wonderful as it features appearances from Solbjorg Hojfeldt as Medea’s nurse, Preben Lerdorff Rye as the king’s right-hand man Pedagog, and in the role of Medea and Jason’s son, Jonny and Richard Kilde. Notable supporting roles including Henning Jensen as the powerful King Creon, Baard Owe as rival king Aegeus, and Ludmilla Glinska as the innocent yet beautiful Glauce (whose voice is dubbed by Mette Munk Plum). Udo Kier is excellent as the ambitious Jason who betrays Medea for power as Kier brings a chilling approach to his performance though his voice is dubbed by another actor in Dick Kayso. Finally, there’s Kirsten Olesen in the titular character as Olesen brings a very dark yet cunning approach to the character that feels wrong as there’s also an entrancing sense of anguish over what she plans to do as it’s a very mesmerizing role from Olesen.

Medea is a dark yet very hypnotic film from Lars von Trier that features a script from the late Carl Theodor Dreyer. While the film is among one of von Trier’s weakest works of his career, it is still an interesting one in where he would get some of the visual ideas for his next film Europa and the themes he would explore in the late 90s-2000 Golden Hearts trilogy. In the end, Medea is a stellar yet ominous TV film from Lars von Trier.

Lars von Trier Films: The Element of Crime - Epidemic - 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 - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2012

The Kingdom II (TV Miniseries)

Riget II (The Kingdom II) is the sequel to the 1994 TV mini-series created by Lars von Trier about a Danish hospital being haunted by strange happenings involving the supernatural. For its second part that is directed by von Trier and Morten Arnfred with scripts written by von Trier and Niels Vorsel. The sequel has many of the mini-series previous characters returning as it involves more supernatural mysteries involving a baby born in a man’s body, voodoo, and all sorts of bad things. Starring Ernst-Hugo Jaregard, Kirsten Rolffes, Holger Juul Hansen, Soren Pilmark, Ghita Norby, Baard Owe, Birgitte Raaberg, Henning Jensen, Erik Wedersoe, John Hahn-Petersen, Birthe Neuman, and von Trier regular Udo Kier along with an appearance from another von Trier regular in Stellan Skarsgard. Riget II is an even crazier and stranger mini-series than its predecessor.

Episode 5: Death on the Operation Table

After being hit by an ambulance, Mrs. Drusse (Kirsten Rolffes) returns to the hospital as she realizes that more spirits need her help as Bulder (Jens Okking) and Hansen (Otto Brandenberg) help her out. Returning from Haiti, Dr. Helmer (Ernst-Hugo Jaregard) conspires to poison Hook (Soren Pilmark) as he is asked by Moesgaard (Holger Juul Hansen) to manage things at the hospital. Moesgaard tries to deal with the country’s health director Bob (Henning Jensen) and his assistant Nievesen (John Hahn-Petersen) over funding forcing him to seek help from the hospital‘s rogue shrink Ole (Erik Wedersoe). Hook looks after Judith (Birgitte Raaberg) as he convinces her to see her new mutated baby (Udo Kier).

Episode 6: Birds of Passage

After her near-death experience, Mrs. Drusse realizes her mission to save the lost souls in the hospital is bigger than ever under the watchful eye of an evil presence. Meanwhile, Helmer gains an electric car while dealing with detectives about Mona (Laura Christensen). With Mogge (Peter Mykind) becoming Helmer’s assistant, he also tries to help his friend Christian (Ole Boisen) to woo Sanne (Louise Fribo). Moesgaard tries to deal with Ole’s unconventional tactics along with the presence of Bob who continues to meddle in the activities of the lodge. With Bulder helping out his mother to get a psychic surgeon named Philip Marco (Fash Shodeinde) who would have an encounter with the recovering Bondo (Baard Owe). Things get stranger as Helmer tries to find Hook’s body while Mrs. Drusse holds a seminar for the spirits asking what they want.

Episode 7: Gargantua

After being shot by Rigmor (Ghita Norby), Helmer’s plan for Hook is changed when Hook has returned from the dead seeking vengeance on Helmer. Judith and her baby receives a strange visit from Aage Krger (Udo Kier) as Mrs. Drusse realizes that he is here and was the man who flew away the spirits. Helping out Moesgaard and the elders of the lodge, Nievesen tries to make sure things go right for Bob’s inspection while Helmer meets a lawyer (Stellan Skarsgard) about Mona’s case as they share their disdain towards the Danes. Christian continues to pursue Sanne while Mogge becomes overwhelmed by his relationship with Camilla (Solbjorg Hojfeldt). After realizing what is lurking inside the hospital, Mrs. Drusse makes a plan to uncover the secret while Helmer finds himself in big trouble as evil starts to emerge into the hospital.

Episode 8: Pandemonium

Following a plane crash that nearly killed them, Mrs. Drusse and Bulder go further into the hospital where they find a much darker secret involving Satanic rituals. After going through a series of humiliating ordeals involving the lodge, Rigmor, Mona, Mogge‘s examination test, a server, and losing his beloved car, Helmer goes on the offensive. Bondo’s ailment starts to get to him as members of the lodge desperately try to find a donor where the candidate is the most unlikely person in the hospital. Christian decides to make a move to prove to everyone he’s not a bore while Moesgaard has an epiphany through Ole’s treatment. All of this leads to a collision where Mrs. Drusse tries to uncover who is one of the dark souls in the hospital as all hell breaks loose.

In the sequel to Riget, things become even stranger and looser as the story revolves more about Mrs. Drusse’s attempt to save the spirits around her in the hospital while dealing with the big evil lurking inside. Meanwhile, Helmer returns to Haiti to try and poison Hook only to counter more trouble as detectives are after him about his botched surgery on Mona along with all sorts of trouble. Hook gets poisoned as he decides to go after that is wrong while Judith tries to take care of her deformed, mutant baby. All of this is told once again by the two Down syndrome dishwashers (Morten Rotne Leffers and Vita Jensen) who know that something is up or something is going to happen.

The script by Lars von Trier and Niels Vorsel is much looser than its predecessor as the structure is more disjointed where there is a way each episode in the first mini-series had. In the second part, the early meetings don’t happen quite often early on as Helmer no longer has his car while Moesgaard is dealing with various issues. Though each episode does have Helmer saying “Danish scum” towards the end onto a toilet. Things definitely get much weirder and confusing as it all builds up to this climatic suspense over what is watching the Kingdom hospital. Since there was supposed to be a follow-up for this second part of Riget, unfortunate circumstances, due to the death of a few key actors, leaves the series with an ending that leaves everything in a cliffhanger with more questions than answers.

The direction of Lars von Trier and Morten Arnfred is much looser in terms of its presentation as well as more ambitious ideas. Among them is the design of Judith’s baby as well as the use of more set pieces beneath the realm that is the Kingdom. With the camera work much looser and jarring for its presentation where the framing becomes more off-kilter as the camera is often moving around or staying still in a very tilted approach. The visual style remains the same but there is this very green, night-vision look to it that emphasize that something evil is lurking around. The humor is definitely more off the wall as it even lean towards darker territory which includes various orderlies and medical students betting on a crazed ambulance race that happens every night. The overall work that von Trier and Arnfred does is more entrancing as well as being more unconventional in creating a sequel that is just as good as its predecessor.

Cinematographer Eric Kress does a fantastic job with the mini-series‘ grainy yet sepia-drenched 16mm cinematography to play up more of its visual style as well utilizing night vision for the evil presence lurking throughout the series. Editors Pernille Bech Christensen and Molly Marlene Stensgaard do great work in the editing to maintain a very loose feel for its pacing while utilizing jump-cuts to create a disjointed feel throughout each episode. Production designers Jette Lehmann and Hans Christian Lindholm do excellent work in creating the set pieces such as the dark hallways and mysterious places lurking in the hospital as well as the rooms and such that many of the characters encounter. Costume designer Annelise Bailey does a very good job with the costumes made such as the hospital lab coats and casual clothing many of the characters wear.

Special effects makeup by Kim and Lis Olsson do amazing work with the look and design of Judith‘s baby from its long arms and big body to the makeup work that is made for Udo Kier. Special effects by Lars Andersen and Annette Rolfshoj is superb for the effects made for the spirits that surrounds Mrs. Drusse as they help her in her mission to save the hospital. The sound work of Hans Moller is wonderful for the atmosphere that is created along with mixes to help build up the suspense that occurs throughout each episode. The score by Joachim Holbek is terrific for its chilling electronic pieces to play up the drama while utilizing more rhythmic cuts for its suspenseful moments.

The ensemble cast for this mini-series is truly the highlight of the entire project as it features some notable appearances from Stellan Skarsgard as Helmer’s lawyer, Birthe Neumann as Moesgaard’s secretary who often annoys Helmer, Ole Boissen as the very timid Christian, Louise Fribo as the blood-phobic Sanne, Solbjorg Hojfeldt as Mogge’s sleep lab older girlfriend Camilla, Annevig Schelde Ebbe as the ghost Mary, and Laura Christensen as brain-damaged girl Mona. Other noteworthy supporting roles include Henning Jensen as the snoopy director Bob, John Hahn-Petersen as Bob’s assistant Nievesen, Erik Wedersoe as the eccentric psychiatrist Ole, Otto Brandenberg as the humorous orderly Hansen, Birgitte Raaberg as the weary yet maternal Judith, and Udo Kier in dual rules as Judith’s baby and his demonic father.

Jens Okking is very funny as the lazy but helpful Bulder while Baard Owe is very good as the ailing yet driven Bonde. Peter Mygind is wonderful as the very upbeat and charming Mogge as is Ghita Norby as the vengeful but cunning Rigmor. Morten Rotne Leffers and Vita Jensen are brilliant as the two dishwashers who comment everything that happens as they each bring a wonderful enthusiasm to their roles. Soren Pilmark is excellent as the vengeful Hook who comes back from the dead to go after the ills he sees.

Holger Juul Hansen is terrific as the kind but insecure Moesgaard who tries to deal with his own personal issues. Kirsten Rolffes is fantastic as Mrs. Drusse who becomes more determined to save lost spirits following her own near-death experience. Finally, there’s Ernst-Hugo Jaregard in an amazing performance as Stig Helmer as Jaregard makes Helmer more despicable but also funny as it’s a great role for the legendary Swedish actor.

Riget II is a dark yet more off-the-wall TV mini-series from Lars von Trier and Morten Arnfred. While the only disappointing factor is that there won’t be a third part due to the deaths of Ernst-Hugo Jaregard, Kirsten Rolffes, and Morten Rotne Leffers. It does however manage to be a very exciting follow-up to its 1994 predecessor that never gets boring nor keep things off track while still being very crazy. In the end, Lars von Trier and Morten Arnfred deliver once again with Riget II as it reminds everyone to keep the good with the evil.

Lars von Trier Films: The Element of Crime - Epidemic - Medea - Europa - The Kingdom I - Breaking the Waves - Dogme #2: Idioterne - Dancer in the Dark - Dogville - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2012

Dogville

Originally Written and Posted at Epinions.com on 3/21/04 w/ Additional Edits & Revisions.

Written and directed by Lars von Trier, Dogville is about a young woman named Grace in 1930s Great Depression running away from the mob as she hides in a quiet town in the Rocky Mountains where she befriends a man who helps her. Seeking refuge in the town where the locals give her labor work, things start out fine until it escalates where Grace becomes mistreated by the locals. Playing the role of Grace is Nicole Kidman who leads a rich ensemble cast that includes von Trier veterans Sioban Fallon-Hogan, Stellan Skarsgard, Jean-Marc Barr, Udo Kier, and Zeljko Ivanek, as well as film veterans Phillip Baker Hall, James Caan, Lauren Bacall, and Ben Gazzara plus Paul Bettany, Jeremy Davies, Chloe Sevigny, Patricia Clarkson, Blair Brown, and narration by John Hurt. Dogville is a haunting yet provocative film from Lars von Trier.

In the small mining town of Dogville in the Rocky Mountains, a philosopher named Tom Edison (Paul Bettany) hears a gunshots nearby as a woman named Grace arrives into town seeking refuge. With Grace hiding in the mines, Tom learns that Grace is hiding from a mob led by its leader (James Caan) as they want to know about her whereabouts. While Tom told him that she's not here, he is given a card in case she does arrive as they leave. Tom holds a town meeting with the locals to introduce Grace as she is given a two-week trial run to see if she can fit by doing usual labor work. While she manages to befriend the blind Jack McKay (Ben Gazzara) and help out various locals including the grouchy apple farmer Chuck (Stellan Skarsgard) during the trial-run. Grace is accepted where things seem to go fine as she continued to help out and such.

After a 4th of July picnic when a cop posted posters of Grace being wanted for robbery, things become tense as Grace chooses to work for less wages. Yet, Grace finds herself dealing with all sorts of trouble as she gained the ire of the local women led by Chuck's wife Vera whose young son Jason (Miles Purton) was spanked when he was trying to provoke Grace. After Grace claimed that Chuck had raped her during a visit from the cops, Vera refuses to believe by smashing the little figurines Grace had bought some time ago. Grace decides to leave Dogville with the help of Tom and garage worker Ben (Zeljko Ivanek) that doesn't go well at all when Ben returns to Dogville as Grace had been accused of stealing money from Tom's father (Philip Baker Hall).

Grace is forced into doing slave labor while being a sexual tool for the men in the town as Tom feels that things have gone too far. After some truths were unveiled, Tom decides to call up the mob leader where a bigger shock is revealed about Grace's identity in relation to the mob.

The film presentation of Dogville is clearly one of the most original ideas as the entire movie feels like a play with minimal settings, cars driving in and out of the soundstage while doors are being opened by mimic since there's no doors built, and a fake mountain near the edge of the set. In many respects, Lars von Trier has once again made his mark as a groundbreaking filmmaker by just stripping everything down to the essentials. With help from production designer Peter Grant and set decorator Simone Grau, the film's set plays up to Great Depression-era America as well as the costumes by Manon Rasmussen. The film has this strange look where in the day scenes, there's a white background surrounding and a black for night.

Even when there's weather, leaves, snow, and all sorts of things fall down just to give the film a strange, cinematic feel. Even the film's score from the compositions of Antonio Vivaldi plays up to the innocence of the town as well as its suspense and drama as the film's mood changes. One notable musical piece that is set to the film's disturbing final credits of America in ruins is presented with the musical accompaniment of David Bowie's Young Americans.

With a dizzying, video look from cinematographer Anthony Dod Mantle, the film has this strange, avant-garde tone to the film as von Trier also plays the role of camera operator as the film has not just a hand held feel. Also a TV-like production feels as if a play is being filmed. The real genius of the film is easily von Trier as he brings in a fluent, storytelling direction that is masterful as he doesn't even let the pacing of the film slow things down or make things fast, especially since the film is 3-hours long.

Even the film's screenplay is filled with brilliance as the story and characters starts off innocently and then evolves into something very ugly. Now for those who found the ending to Dancer in the Dark to be quite sadistic will find the ending in Dogville much more disturbing and ugly. At times, the characters can be sympathetic but as the story evolves, it becomes blurry as the actions of the people of Dogville become more sadistic.

What makes Dogville such a compelling film isn’t just how American society is back then but in relation to today's society. What von Trier does is provide all sorts of ambiguities and symbolism, particularly in the little things in the set like the China figurines that Grace cherishes and Ma Ginger's Gooseberry bushes. There's a fine line in the story at what goes on and when it comes to the ending, it comes with this sense of realization at not just what the people in Dogville are but to America as well. In many aspects, von Trier isn't trying to knock down American society but the politically incorrectness and restriction on what this country has become.

If von Trier has had a great cast before in his previous films, he certainly topped them all with everyone in this film. You can never put a better ensemble cast as better as this. While the roles of Cleo King, Harriet Andersson, Shauna Shims, Jean-Marc Barr, and Udo Kier are small, they were all well-performed and fun to watch as Cleo King plays up to the mood of the African-American housemaid while overcoming the stereotype just as the film evolves since she ends up being treated like a equal. The roles of Chuck and Vera's children are well-performed, particularly Miles Purinton as Jason who probably gets his first S&M lesson from Nicole Kidman in one of the film's most hilarious scenes. While Blair Brown and Bill Raymond are well used as the Henson parents as well as Jeremy Davies as the dimwitted Bill is used, Chloe Sevigny stood out the most among the family as she tries to play up as a rival to Kidman's Grace for the affections of Tom Edison.

Siobhan Fallon Hogan and Zeljko Ivanek also does standout performances in their roles as well as the enigmatic Lauren Bacall as the wise Ma Ginger who ends up becoming a real mean lady to Grace. Stellan Skarsgard is excellent as the grouchy Chuck as he plays up in a very vulnerable role in earlier scenes with Grace as he shines in the rape scene where he reveals his huevos grandes. Phillip Baker Hall is also excellent in his role as Tom Sr. while Ben Gazzara is amazing as the blind Jack McKay, who too becomes a dirty old man.

Of the entire supporting cast, no one stood out better than Patricia Clarkson (who replaces the late Breaking the Waves actress Katrin Cartlidge, who the film was dedicated to) as Vera, who starts out very nice but once she gets mean, she is really mean as the current indie queen gives Kidman a lesson in indie meanness. James Caan, of course is brilliant in the film's final act as he meets with great with a surprise revelation as he doesn's come off as the classic mob criminal by just playing the role charismatically and with subtlety that is very surprising from the film legend.

Of the male cast, no one shines more than Paul Bettany. Bettany brings in an anguished, sympathetic performance as Grace's love interest while he comes up with all of these mindless theories. As the film develops, Bettany's Tom Edison might seem to be the most innocent of all characters but as the film ends, he's not what he seems as well. The narration of John Hurt of course is spoken very elegant as if he plays the lost citizen of Dogville as he watches everything through his own words and it's easily one of the best narrations ever heard in cinema. Finally, there's Nicole Kidman in one of her great performances of her career in the role of Grace. Kidman brings a real vulnerability to a woman just wants to do good though there is also something not right about her as the film progresses giving Kidman a bigger edge to her character.

Dogville is a dark yet extraordinary film from Lars von Trier featuring a brilliant performance from Nicole Kidman. The film is one of von Trier's essential projects as well as one of his most daring in terms of presentation and what von Trier had to say about American intolerance. While it's not an easy film to watch due to its theme and a three-hour length. It is still a film that dares to ask big questions while being powerful enough to be provoking. In the end, Dogville is a magnificent 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 - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2012

The Kingdom I (TV Miniseries)

Created by Lars von Trier, Riget (The Kingdom) is a four-part TV mini-series about a Danish hospital that is haunted by strange occurrences relating to the supernatural. Directed by Lars von Trier and Morten Arnfred and written by von Trier, Niels Vorsel, and Tomas Gislason. The TV mini-series is a mixture of horror and medical dramas taken to strange heights. Starring Ernst-Hugo Jaregard, Kirsten Rolffes, Holger Juul Hansen, Soren Pilmark, Ghita Norby, Baard Owe, Birgitte Raaberg, and von Trier regular Udo Kier. Riget is a strange yet very exciting TV mini-series from Lars von Trier and Morten Arnfred.

Episode 1: The Unheavenly Host

At the most technological advanced hospital in Denmark that was built on top of a mysterious mystical marsh some many years ago. Yet, something strange is going on at Kingdom hospital where top neurosurgeon Stig Helmer (Ernst-Hugo Jaregard) is about to attend a secret ceremony while dealing with young doctors who defy his authority. Particularly when an old woman named Sigrid Drusse (Kirsten Roffes) keeps checking because of she has no feeling in her arm. Yet, Drusse is really trying to contact a mysterious spirit she heard crying above the elevator as she asks her son Bulder (Jens Okking) to help her out. Meanwhile, a young student named Mogge (Peter Mygind) is causing trouble as he is attracted to an older doctor named Camilla (Solbjorg Hojfeldt) where he tries to give her a strange present.

Episode 2: Thy Kingdom Come

Helmer is under fire over a botched surgery that left a young girl named Mona (Laura Christensen) brain damage where the hospital’s manager Einar Moesgaard (Holger Juul Hansen) is trying to help Helmer with the situation. Meanwhile, Mogge is in trouble with his superior in professor Palle Bondo (Baare Owe) who is going through his own troubles over research for a tumor is being stopped by a patient’s family. During a surgery performed by Helmer, its patient sees a mysterious young girl (Annevig Schelde Ebbe) in the form of a ghost as it is the ghost Drusse has been trying to find. While Drusse comforts a dying woman who helps her make contact with the ghost learning her name is Mary. With Helmer dealing with lots of issues as he finds comfort in fellow doctor Rigmor Mortensen (Ghita Norby) as he attends another meeting with Moesgaard and Bondo.

Episode 3: A Foreign Body

After learning that a copy of report about Mona’s brain damage worries Helmer as he tries to get the report before the medical board reads it. Hook learns about the report as he tries to obtain the report with Mogge’s help where they had to go into the archives. Drusse makes a breakthrough about the secret ambulance that comes to the hospital every night as she thinks it has something to do with Mary. With Bulder’s help to gather archives about what happened to Mary, Drusse makes a big discovery about how Mary may had died as she wanted to go to Dr. Bondo for help. Yet, Bondo decides to take his study about a liver tumor to new heights following Helmer’s suggestion about taking the transplant since the patient had already signed up to be a donor years ago. When Hook’s pregnant girlfriend Judith Petersen (Birgitte Raaberg) finally gathers the report legally for Hook. Something strange is happening inside her while Drusse and Bulder get closer about what happened to Mary.

Episode 4: The Living Dead

In fear over what the chief medical officer might find in the report, Helmer decides to take a leave of absence as Moesgaard asks Helmer to be the presenter for a visit with the country’s health minister. Helmer agrees to do it as he tries to confront Hook about the report copy he obtained yet Hook has other problems to deal with. With Judith’s pregnancy going rapid as he and Mrs. Drusse thinks there is something wrong with her fetus. Mrs. Drusse makes a breakthrough in her discovery about what happened to Mary as she learns who her killer is. Hook helps Mrs. Drusse and Bulder out where he makes a discovery about Judith’s boyfriend (Udo Kier). With Dr. Bondo still ill from the surgery and Helmer fleeing to Haiti with a hospital worker, Moesgaard finds himself having to show the minister what goes on in the hospital as all hell breaks loose.

The TV mini-series is about a hospital that was built on a mysterious marsh where strange things happen as a spiritualist patient tries to communicate with the dead while a Swedish doctor is being accused of medical negligence. There’s a lot that goes on in the TV mini-series as some of it is told by a couple of dishwashers with Down syndrome who would also unveil things that would happen. Yet, each episode takes place in the span of 24 hours where something is going to happen.

The teleplay that is written by Lars von Trier and Niels Vorsel, with Tomas Gislason co-writing the shooting script with von Trier, has a structure of how each episode opens and ends. The episode always opens with a prologue about the marsh and its mysteries where a hospital was built in a state of arrogance by those wanting a hospital. After the prologue and the opening credits, each episode (with the exception of The Living Dead) has a simple way of setting each episode for its beginning and end. It always open with Dr. Helmer arriving into a special parking space with cones around his car as he takes out the hubcaps from the car and later make some complaints to parking security officers.

Then there’s the meeting led by Moesgaard where Helmer either doesn’t participate or makes some kind of complaint. Late in the episode, Helmer and Moesgaard go to a meeting with elders that included Bondo while all sorts of mayhem occur. Towards the end, Helmer is always looking up in the sky screaming “Danish scum” as the closing credits has Lars von Trier commenting on the episode and tells his viewers to take the good with the evil. That’s how the structure of each episode happens with the exception of The Living Dead as there’s changes that occur once the suspense starts to build up over the death of this girl many years ago. Meanwhile, there’s a lot going on throughout each episode that involves various characters that play up to the nightmarish horror that occurs or bring all sorts of strange humor that happens throughout the series.

The direction of Lars von Trier and Morten Arnfred is truly hypnotic in the way they frame the scenes while shooting the project entirely with hand-held cameras where there’s a bit of shaky element to it. There’s parts of the film where things become very shaky for more intense, hyperactive moments while a lot of remains still and such with constant shots of an elevator looked from above or a shot of Helmer screaming with a camera above him. While it is a TV project that is a mixture of horror and hospital-based dramas, there is an element of humor that is quintessential to what von Trier is known for.

There’s also a lot of strange, surreal moments in the film where von Trier puts characters in very different set pieces to add the element of fantasy as they either face nightmares or discover some big clues. The way suspense is built is done in a very slow yet methodical rhythm where at times, it can go off kilter. What is revealed can be presented but not in particular the right moment as von Trier and Arnfred play with these rhythms. Some of it the horror moments play off in a form of dark humor or to the point where it will test a viewer’s idea of gore and such. Overall, this is truly an outstanding yet chilling project from Morten Arnfred and Lars von Trier.

Cinematographer Eric Kress does a fantastic job with the mini-series‘ stylish photography where it‘s dominated by a very grainy yet sepia-like orange palette for its look. Notably as it aims for a style that is a precursor to the Dogme 95 style that von Trier co-founded but with a large degree of style where everything seems very surreal. Editors Molly Malene Stensgaard and Jacob Thuesen do amazing work in the editing to create unconventional rhythms in the use of jump-cuts and other unique approach to pacing where it feels much looser in its tone for an episode that often averages for more than an hour.

Production designer Jette Lehman does an excellent job with the creation for some of the rooms and elevator lifts that happens in the hospital where it seems like a place that is about to fall apart no matter how modern it tries to be. Costume designer Bjarne Nilsson does a very good job with the costumes from the hospital coats and gear many of the cast wears to the pink bathrobe that Mrs. Drusse wears. Special makeup effect designers Kim and Lis Olsson do incredible work on the makeup for characters like Mary and Mona as the two young girls play up to the manic state their in. Visual effects work by Soren Buus does terrific work with the visual effects where it‘s meant to be cheesy and surreal for the superimposed backgrounds that is made along with transparent visual effects to play up the ghostly aspect of the mini-series.

Sound editors Per Streit and Hans Moller do a fantastic job with the sound work to build up the suspense of some parts of the mini-series including creating intimate yet chaotic moments in the board meeting scenes and other chilling moments. The music of Joachim Holbek is superb with its eerie electronic score to play up the drama and suspense along with brooding orchestral touches along with a thunderous theme song for the opening and closing credits for each episode.

The ensemble cast for the mini-series is truly spectacular for the people that is brought in for this project. In small but recurring roles, there’s appearances from Udo Kier in a flashback role as the mysterious Age Kruger as well as Judith’s boyfriend along with Louise Fribo as medical student Sanne, Birthe Neumann as Moesgaard’s secretary, Otto Brandenberg as orderly Hansen, Laura Christensen as the brain-damaged Mona, Annevig Schelde Ebbe as the ghost of Mary, and in the charming roles of the Down-syndrome dishwashers are Vita Jensen and Morten Rotne Leffers. Other notable supporting roles include Solbjorg Hojfeldt as sleep lab consultant Camilla, Jens Okking as Drusse’s orderly son Bulder, Peter Mygind as the lanky yet playful Mogge, and Birgitte Raaberg as Hook’s pregnant girlfriend Judith.

Baard Owe is excellent as Dr. Bondo, a part-time professor who takes a risk in taking a cancerous liver into his own body for his own research. Ghita Norby is wonderful as Rigmor, the only doctor who likes Helmer as she helps him with reports and such only to later be spurred by him. Soren Pilmark is superb as Hook, a competent doctor who helps out Mrs. Drusse while running a black market operation inside the hospital. Holger Juul Hansen is terrific as Mogge’s father and hospital manager Moesgaard who tries to make things easy for Helmer as well as wanting a very positive atmosphere in the Kingdom hospital. Kirsten Rolffes is great as Mrs. Drusse, a spiritualist who makes contact with ghosts as she leads the charge to uncover the mystery unaware of how far she has gone.

Finally, there’s Ernst-Hugo Jaregard in a very magnificent performance as Dr. Stig Helmer who despises the way of the Danes while wanting to maintain his own ideas of how to run things. It’s a very strong performance for the late Swedish actor who also brings in a great sense of energy and humor to his character no matter how un-likeable he is.

Riget is a remarkable yet extremely haunting TV mini-series from Lars von Trier and Morten Arnfred. Featuring a great ensemble cast led by Ernst-Hugo Jaregard, it is a mini-series that is filled with lots of creepy and suspenseful moments as well as unique humor and an entrancing visual style. For fans of Lars von Trier, it is among one of his most essential works of his career as it’s also a must-see for those interested in medical dramas with a dash of horror. In the end, Riget is a phenomenal mini-series from Morten Arnfred and Lars von Trier that suggests to take the good with the evil.

Lars von Trier Films: The Element of Crime - Epidemic - Medea - Europa - Breaking the Waves - The Kingdom II - Dogme #2-Idioterne - Dancer in the Dark - Dogville - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

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