Lars Von Trier's latest offering again focusses on the very difficult in interpersonal relationships. The issues in Von Trier's films seem to border on the fantastic set in the most natural of surroundings.In its theme and treatment, Dancer in the Dark toes that line.
Selma (Bjork) is the pivot around which the characters and themes in the film revolve. We are told through conversational exposition that she is going blind rapidly and her sole aim is to save enough money to enable her son, who suffers from the same genetic disability, to undergo an eye operation. Her singlemindedness in this objective 'blinds' her to protestations of love from Jeff and to the consequences of what she is faced with once the gun is turned on to Bill (David Morse). Von Trier holds up the social construct of law against the social construct of honour as Selma, in a fascinating moment in court, refuses to disclose what Bill told her in confidence even as her refusal sinks her further in the appearance of guilt.
In a rivetting performance, Bjork overshadows the other actors as she plumetts towards her self destruction. David Morse plays Bill perfectly but the other actors do not exude any magnetism on screen; even Catherine Deneuve fails.
The treatment of the theme as a musical is probably a result of Von Trier's (or Bjork's) love for the genre and leaves a very uneven taste in the mouths of the audience which, although probably used to a resurgence of the musical at the hands of Woody Allen, is probably only willing to accept that nothing dreadful happens in musicals.
Selma (Bjork) is the pivot around which the characters and themes in the film revolve. We are told through conversational exposition that she is going blind rapidly and her sole aim is to save enough money to enable her son, who suffers from the same genetic disability, to undergo an eye operation. Her singlemindedness in this objective 'blinds' her to protestations of love from Jeff and to the consequences of what she is faced with once the gun is turned on to Bill (David Morse). Von Trier holds up the social construct of law against the social construct of honour as Selma, in a fascinating moment in court, refuses to disclose what Bill told her in confidence even as her refusal sinks her further in the appearance of guilt.
In a rivetting performance, Bjork overshadows the other actors as she plumetts towards her self destruction. David Morse plays Bill perfectly but the other actors do not exude any magnetism on screen; even Catherine Deneuve fails.
The treatment of the theme as a musical is probably a result of Von Trier's (or Bjork's) love for the genre and leaves a very uneven taste in the mouths of the audience which, although probably used to a resurgence of the musical at the hands of Woody Allen, is probably only willing to accept that nothing dreadful happens in musicals.
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