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SimplyScripts Screenwriting Discussion Board    Reviews    Movie, Television and DVD Reviews  ›  Melancholia Moderators: Nixon
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  Author    Melancholia  (currently 1219 views)
James McClung
Posted: October 18th, 2011, 10:18am Report to Moderator
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Once again... Yay, On Demand! It's by sheer chance that I stumbled upon Lars von Trier's new opus, searching for something to watch as background noise.

Melancholia is split into two parts, each focusing on one of two sisters (Kirsten Dunst and Charlotte Gainsbourg) on the eve of the end of the world; a rogue planet, Melancholia, is on a collision course with Earth.

Part 1 focuses on Justine (Kirstin Dunst) during her wedding reception at her brother-in-law's (Kiefer Sutherland) lavish family home. Justine suffers from severe depression and, throughout the night, frequently runs away from the proceedings, leaving her guests oblivious as to her whereabouts. While most of the party seems little more than perplexed, Justine's behavior proves much to the dismay of those closest to her, namely her sister, Claire (Gainsbourg), and newly wed husband (Alexander Skarsgard), from whom she's grown alienated.

Part 1 doesn't showcase the Earth's impending doom at all. Rather, it's meant to develop Dunst's character and her respective condition and helplessness.

Part 2 focuses on Claire. It takes place an indefinite period of time after Justine's wedding and introduces Melancholia. Justine comes to live with Claire, John (Sutherland) and their son, Leo, at John's mansion, her depression now more debilitating than ever. Claire serves as Justine's "nurse" as she struggles to make it through even the simplest parts of her day (e.g. taking a bath). However, as Melancholia draws closer, Claire starts to fall apart with fear while Dunst is almost immediately resigned to their fate, thus becoming the stronger of the two.

I'll start with the pros. Von Trier is famous for bringing out strong performances from his female actors and Melancholia is no exception. Dunst's performance is the best of her career, by far, and seems to be generating a little Oscar buzz. It's subtle but stark and realistic and makes the film. Naturally, Gainsbourg is much more restrained than she was in Antichrist but is just as strong in her supporting role. There's a fair share of smaller roles that are quite good as well, namely John Hurt and Charlotte Rampling (as Justine and Claire's parents) and Stellan Skarsgard (as Justine's boss). Kiefer Sutherland is serviceable in probably the only role that carries into Part 2. All around a very strong cast, some of which might have a shot of Oscar nods, given the comparatively less transgressive nature of the film next to the rest of von Trier's body of work.

Secondly, the filmmaking is spectacular. Von Trier builds upon the surreal stylings of Antichrist with almost no restraint. The film opens with a seven-minute montage of the world ending, where just about every shot looks like a painting (and considering that they're all in slow motion, they might as well be). The opening and closing shots of the film are nothing short of epic. There is a fair share of von Trier's trademark handheld and loose framing but it's balanced out with a fair share of more romantic cinematography. Visually speaking, Melancholia is the most remarkable and interestingly shot film this year, beating out both Drive and Tree of Life for my money.

The film is not without its drawbacks. From an objective standpoint, it's extremely slow, probably the slowest film von Trier has ever done. It's almost completely dialogue driven but there's also a lot of silence in between. No doubt, this will prove trying for a lot of people. It's also a very somber and pessimistic film, yet surprisingly devoid of von Trier's typical controversial subject matter or shock value (with the exception of the end of all life). The melodrama is minimal compared to von Trier's past work, especially compared to something like Breaking the Waves, as is the amount of von Trier scheming/facetiousness.

I'm not saying these are bad things, per se, but it makes for a challenging watch, which demands a lot of patience, and what seems to be more suited for a primary storyline (the end of the world) is actually more of a foil for a character study about depression, thereby making the film less accessible.

Still, the film left me thinking well after it was over and I appreciated the artistry, despite the fact that it doesn't have much consideration for the audience. Not a film I'd recommend but should have something to offer to those inclined to seek it out.


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bert
Posted: October 18th, 2011, 11:31am Report to Moderator
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I remember the trailer for this one, and while I usually dig your reviews, James, this review leaves me with the same quandary that the trailer did.

For me, von Trier is a very mixed bag -- and while trying to decide whether or not to watch this movie, I simply want to know what it is about -- in terms of the plot -- stripped of all the hand-wringing that seems to go along with whatever this guy does.

I mean, is it just following the story of two women prior to worlds' end -- is that pretty much the whole bag of chips here?


Hey, it's my tiny, little IMDb!
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James McClung
Posted: October 18th, 2011, 12:10pm Report to Moderator
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Quoted from bert
I mean, is it just following the story of two women prior to worlds' end -- is that pretty much the whole bag of chips here?


To be completely concise, I'd say the film is about two sisters and how their relationship changes as the end of the world approaches. That's about as layman's terms as I can get without completely discounting some of the film's most important elements. Cool?

This is, however, not what you're going to get 100% of the time. Part 1 doesn't make any mention of the end of the world, is over an hour long and essentially has its own story and arc. It does, however, set up for Part 2.


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Electric Dreamer
Posted: October 18th, 2011, 12:16pm Report to Moderator
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Quoted from bert

I mean, is it just following the story of two women prior to worlds' end -- is that pretty much the whole bag of chips here?


I caught this show recently.
I haven't been much of a fan of von Trier's recent work.
The last film I truly enjoyed was "Dancer in the Dark".

That being said, I found Melancholia to be his most tedious film to date.
The story revolves around the high class malaise of a dysfunctional family.
There are moments that click, but I found most of self indulgent.
Even by von Trier's standards, this one wallows.

The speechless prologue and epilogue are breathtaking.
Beautifully executed, but on the whole, it makes Kubrick look heartwarming.
Molasses paced, disjointed pretty people sighing a lot.
And it has none of the visceral qualities of Antichrist to counterbalance it.

E.D.



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bert
Posted: October 18th, 2011, 12:36pm Report to Moderator
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Quoted from James McClung
Cool?


Yep.


Quoted from E.D.
Even by von Trier's standards, this one wallows.


Now that's saying something haha.

Hope it stays on streaming for a while (thanks for the heads-up, btw) 'cause it sure sounds like it may be a while before our household works its way around to this one...


Hey, it's my tiny, little IMDb!
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Heretic
Posted: November 27th, 2011, 2:00am Report to Moderator
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Definitely a quiet and slow film, even for Von Trier.  I thought it was amazing.  I would highly recommend seeing this one in theatre.

Brett, you didn't like Dogville???
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The boy who could fly
Posted: November 27th, 2011, 4:36am Report to Moderator
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I tried watching this cuz it had Jack Bauer in it, but couldn't do it, was a snoozefest like all lars' s films, man is that guy pretentious or what, tried watching that one he did with that goose sounding singer, couldn't get through that,  my God is she the worst singer or what:? and there is no way I'm watching the one with the cock carving in it. I wanted to like it cuz Bauer is Christ, but this movie slower than molasses, different strokes for different folks I guess, won a few awards so I guess I'm in the minority, wasn't a fan of Martyrs either which seems to have a huge fan base, guess i'm gettin' boring with age  


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Electric Dreamer
Posted: November 27th, 2011, 10:21am Report to Moderator
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Quoted from Heretic
Definitely a quiet and slow film, even for Von Trier.  I thought it was amazing.  I would highly recommend seeing this one in theatre.

Brett, you didn't like Dogville???


Dogville was a mixed bag for me.
The fancy pants direction got in the way of Kidman's stellar work for me.
But it had a lot more going for it than Melancholia.

Von Trier to me, is an excessive storyteller.
I think he's at his best when he strips down his typically bloated scene composition.
To that end, I'm more of a "Breaking the Waves" fan.

I will say this, the man sparks conversation unlike most modern directors.

E.D.


LATEST NEWS

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nawazm11
Posted: December 25th, 2011, 4:57am Report to Moderator
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I actually saw this movie the other day. Truth is, I haven't seen any of Lars Von Trier's films! Shameful, i know  

This wasn't a bad film but I also think this isn't everybody's cup of tea. Its been compared to The Tree of Life which IMO was the best film of 2011.

But anyways! The reason for me commenting is that this wasn't even nominated for one golden globe! Wow! Charlotte Gainsbourg had some of the best acting I have seen in my life. Durst wasn't bad either so I was very surprised them neither of them were nominated.

Hopefully the oscars get this one right!
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Colkurtz8
Posted: January 9th, 2012, 2:54am Report to Moderator
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From what I've seen of Von Trier (Breaking The Waves, Dancer in The Dark, Dogville, Manderlay, Antichrist) I’ve been perplexed, frustrated,  bored, enthralled, intrigued and inspired by what I saw. For all his shortcomings, pretentions and self-indulgences coupled with a less than amiable real life persona I can still call myself a big fan of his work. The films I’ve mentioned above would get a 9, 9, 9, 8 and 9 out of ten from me. None are perfect but all leave you feeling emotionally drained and knowing you have at least gone through an experience, whether or not it was wholly “entertaining” is another thing. Personally when I watch a film I want to experience many things, entertainment being just as important as the next.

I won’t go into the plot of Melancholia as its been covered. Suffice to say, this film is not for everyone, none of his works are, and I’m not going to recommend it. I also completely understand why some people will and do hate it. I’m not here to change anyone’s mind; I’ll just try to explain in my own crude way what I thought about the film.

I found it be a very powerful and moving experience. Stunning visuals, poetic music, an all around acting master class (especially Dunst, Gainsbourgh and Sutherland) created a leaden heavy mood and tone that sustained throughout punctuated by moments of equal inhumanity and yes humanity! A film that carries so much weight without ever speaking a word, everything is anchored by conflicted, troubled characters and the impending, doomsday plot but most of the film’s potency is conveyed through a brooding, uncomfortable atmosphere achieved by Von Trier's incredible ability to combine startling, vivid, sometimes shocking, imagery with passionate, sweeping music. Being a leading force in the super-naturalistic Dogme 95 movement it’s astonishing to see the visual technique this man has up his sleeve. Antichrist and Melancholia are definitely up there as two of the most visually audacious films I’ve seen in recent times. It’s like all the self administered regulations that has bottled him up for so long is finally being unleashed in a fury of aesthetically bold cinema. I love his raw, sparse filmmaking too such as Breaking the Waves and Dancer in the dark while Dogville’s high concept design was ingenious and something truly original in today’s not so original filmmaking world but it’s great to see him flex his muscles and really go for it.

Part I: Justine was a beautifully elegiac tapestry of a highly dysfunctional, fractured family of eccentrics back dropping a woman’s breakdown, evidently a relapse, into depression amid what is supposedly the happiest day of her life. Contrasting the luxurious castle, fine food and impeccably dressed and behaved guests with the explosive mother, joking father and the cold, alienated Justine works brilliantly for tension while the visual trips that Von Trier takes Justine on around the grounds, particularly the golf course help break up the burdening family element while also acting as Justine’s way of escaping her dreary existence. Similar to part 2 there is a pervading mood of dread throughout the night’s events. It builds and builds as Justine increasingly loses control of her overwhelming feelings of malaise and despondency. She occasionally leaves the guests and festivities, drowning in her own misery and discontentment before being dragged back into the centre of attention usually by her sister or her brother in law John. Other times she comes back herself, either due to the pressures of duty (it is her wedding day after all) or because she actually wants to make it work and pull through this.

I found Justine to be a sympathetic character which I know will enrage others. I felt for her plight, the girl was depressed she couldn’t help it, she holds a very cynical, hopeless view of the world as expressed more plainly in part 2. I know she was from a financially well endowed family, had a seemingly nice husband who genuinely loved her but it’s the power of Dunst’s performance, the complexity of her character depiction that made her more than just a whiney, morose, over-privileged middle class drama queen. She portrayed such isolation and loneliness, such disconnection from those around her that I couldn’t help empathising with her and wishing I could understand her more, get under the surface and attempt to see things from her perspective.

Part 2: Claire starts off as a more simplistic, stripped down study which gradually builds to the most grandiose denouement imaginable. It’s after the wedding; gone are the guests, the jilted husband, the warring mother and father leaving three powerful, abrasive elements in Justine, Claire and John along with their son Leo. Von Trier rightfully strips away the distractions and petty quibbles of the first section and just gives us the essentials. These three characters are how we experience the last days of the world; he intentionally reduces something so all encompassing as the apocalypse down to the relationships of these people.

There is no mention of how the world at large is responding to Melancholia’s approach except the website that Claire looks up which has plotted the planet’s path. One can envisage mass hysteria, rioting, anarchy and social degradation across the globe but this is not what Von Trier is exploring, again it’s the reduction of something so huge down to its bare components.

I think the central motif of this section is the complete turning of the tables in regards the sister’s relationship. In part 1, Justine is the neurotic, anxiety addled mess with Claire constantly having to put on a brave face, save her blushes, help Justine through her difficulties, be her rock, encourage her, etc but as the impending collision with the rogue planet becomes more apparent we see Claire starting to crumble, the cracks begin to appear as she fears the worst despite the best attempts of John to assure her that the planet will pass by them without incident. On the contrary, Justine is calm, unaffected and by the end the bravest of the three with the planet looming large on the horizon. I read in an article that Von Trier was inspired to write the script upon hearing that people suffering from depression react best in moments of extreme peril. Von Trier has battled with the condition himself for years so he’s in a good position to tackle it, Antichrist sprung from a similar place. The unrelenting, bleak force behind these works is testament that they were incubated in a very dark place, a place he is familiar with.

The science behind the planets collision takes a back seat to the human interaction amidst the cataclysmic event. Again, Von Trier has said this wasn’t his priority, I don’t know enough about astrophysics to judge whether Melancholia’s orbital path could actual happen, in other words barely miss earth before swinging around to hit head on but it does make for great drama, thinking you have just barely escaped disaster before being thrust headlong back into destruction. It suitably complements the final third, reflecting the fluctuating moods of John and Claire with Justine’s passive indifference.

Like Antichrist, the film is bookended with some gorgeous imagery. I defy anybody not to be intrigued by the introductory collage of abstract imagery, the colours, settings all give it a dark fairytale quality and not be moved by the final sequence where we see Justine bringing her sister and nephew together in their symbolic, rather than practical, shelter. We witness her as content, at peace for the first time as Claire collapses into despair. The last shot of the planet colliding, although obviously CGI, is fantastically done, I mean the best you can imagine they could’ve done on a budget of under 8 million.

Ok, so enough of the gushing hyperbole as Melancholia isn’t without its flaws. I found Gaby, Justine’s mother to be a bit flat and one dimensional, as was her Father who seemed more of a jester-like caricature to oppose the scathing Gaby. Justin’s Boss was again a bit one note, an archetypical, power hungry, all business as?hole devoid of any warmth or sincerity. The only good thing that came from his character was Justin’s tirade against him and everything he stands for. It a typical Von Trier attack which had me cheering her on and gave me at least one tangible reason to side with Justine.

On the subject of Justine, I know some will hate her, finding her one of the most ugly, unsympathetic, impenetrable protagonist in recent memory. She doesn’t allow much of an opportunity for the audience to see her side of things, she doesn’t open up or let us in. Accusations of selfishness, ungratefulness and self absorption are well founded and can’t be argued, I guess it comes down to one’s own tolerance for someone battling depression, they’re not exactly going to be great company. I respond more to realistic, human characters warts and all rather then somebody I can simply root for and in this regard I think Dunst gives a fascinating portrait of a person ripped apart and empty in the inside whose in a constant struggle to not let it manifest on the outside. I believe, in the first section especially, that she does honestly try to soldier on, conquer her fears and inhibitions but in the end succumbs to them. Her only glimpse of happiness and contentment comes in the face of total annihilation, yes its an inhuman, bordering on the sadistic, disposition but this is who she, this is how she feels and most importantly I believed in her.

Other criticisms levelled at the film might be its slow pacing, some will get fidgety and restless but I thought it lent itself perfectly to the growing mood of fear, desperation and helplessness experienced by the characters. I know I'm repeating myself here but this is a film propelled by an overarching tone and atmosphere rather then driven by plot or narrative and obviously this isn't to everyone's taste but its in this department that it unquestionably shines.

Von Trier has often being labelled a misogynist; his public comments from time to time have only acerbated this perception but I can’t think of anyone in contemporary cinema who writes such strong, fully rounded female characters. The two of his “Golden Heart” trilogy that I've seen; Breaking the Waves and Dancer in the Dark contain intriguing female leads in Bess and Selma who are resilient, independent and complex. Even Gainsbourg’s character in Antichrist was a powerful, strong willed woman despite her mental anguish and struggles to overcome her grief. The same can be said of Justine. If you can look past the opinions of the director himself and see the characters he actually creates it’s plain to see that he has a deep respect and admiration for members of the opposite sex.

Anyway, I’ve rattled on for far too long here and I've probably lost a lot of you but for anybody still reading and who are fans of Von Trier this is up there with some of his best work. He appears to be going through a really fruitful time at the moment creatively and I look forward with rapt anticipation to see what he takes on next.

Long may this man be allowed to continue making films.



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Colkurtz8  -  January 9th, 2012, 6:55am
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sniper
Posted: January 9th, 2012, 6:19am Report to Moderator
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The only thing of Lars' that's worth watching is a mini-series he did for Danish television a while back called Riget I and Riget II (The Kingdom I and II).

Everything else pretty much sucks.


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Colkurtz8
Posted: January 9th, 2012, 6:57am Report to Moderator
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To quote the venerable Mr. Lebowski as cited on your signature:

"Yeah, well, you know, that's just, like, your opinion, man."


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nawazm11
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Was browsing through youtube and I found this. Didn't want to start a new post so I decided to post it here.

From the description. "This is the original script to the Overture of Melancholia set to early builds, pre-visualisations and sketches of the storyboard.
The early script in the end is a rough translation taken from this shot:"



The video is very interesting.
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