RectorSite

Melancholia
sffs directed by Lars von Trier November 2011
SFFS members are invited to a free member-only preview screening of Melancholia starring Kirsten Dunst, Charlotte Gainsbourg, and Keifer Sutherland. Melancholia is a psychological disaster film from director Lars von Trier.

Lars von Trier’s work that I have seen:
In 2000, von Trier premiered a musical featuring Icelandic musician Björk, Dancer in the Dark. The film won the Palme d’Or at Cannes.
He then directed two films in his announced ‘U.S. trilogy’: Dogville (2003), starring Nicole Kidman
In 2006, von Trier released a Danish-language comedy film, The Boss of it All.
Von Trier’s latest work is Melancholia, a psychological disaster drama;[26] shot between 22 July and 8 September 2010 at Film i Väst’s studios in Trollhättan, Sweden,[27] and with exteriors in the area surrounding the Tjolöholm Castle

About the film: In this beautiful movie about the end of the world, Justine (Kirsten Dunst) and Michael (Alexander Skarsgård) are celebrating their marriage at a sumptuous party in the home of her sister Claire (Charlotte Gainsbourg), and brother-in-law John (Kiefer Sutherland). Despite Claire’s best efforts, the wedding is a fiasco, with family tensions mounting and relationships fraying. Meanwhile, a planet called Melancholia is heading directly towards Earth…

MY TAKE – When we left the theater Carol and I remarked to one another how excruciatingly long and slow that film was… seemingly hours of Claire dragging around that child and Justine wandering around that golf course. And yet we both thought that parts were beautiful and the acting of the main characters was brilliant.
Mick LaSalle’s review was in the Chronicle the next day. He had the little man sitting straight up, expressionless, which means GOOD.
(Full reviews at the end of this)

He starts —

If only Lars von Trier took into account that audiences might actually want to enjoy “Melancholia,” rather than endure it, or sift through it, or submit to the director’s will, he might have made something extraordinary. The film’s arresting concept, its deeply felt understanding of depression, and its glossy and surreal cinematography — like a Magritte painting — could have been the ingredients of a masterpiece.

and concludes with —

At this point, you might be wondering why, in a middling review, I’ve concentrated only on the good. (In fact, I haven’t the space to talk about all the strengths of “Melancholia”; for example, Kiefer Sutherland as Gainsbourg’s sardonic husband or Charlotte Rampling as Dunst’s and Gainsbourg’s vicious mother.) The reason is that all the virtues of “Melancholia” are original and interesting.?Meanwhile, its flaws are so typical and pedestrian that it’s difficult to sound intelligent mentioning them.?But it must be said: “Melancholia” is grindingly slow and endless, with scenes that go nowhere and long, long stretches of directorial indulgence. There is almost no tension and barely enough story to carry it to feature length, much less 2¼ hours.

Carol and I totally agreed. But then, I went and found Roger Ebert’s review, on line. He gave it 3 1/2 stars (out of 4). What’s up with that? Continue reading “Melancholia, a commentary” →