Own the rights?
134 out of 170 people found the following comment useful :- Hardcore horror movie, 4 September 2000 Author: bruntt from Denmark
This is the most horrifying movie I've seen (gave it 10, though). I had the sensation that I was witnessing somebody die - and like Selma in the movie, I just begged for another musical-show to begin... I couldn't stand it. Everything is so tormenting and you just need that last (but not last!?) dance... Bjork is stunning as Selma, and the music she has composed blew me away. Even though this is perhaps the movie that has left the strongest impression with me ever, I don't know when I will be able watch it again.
87 out of 103 people found the following comment useful :- Odd, bleak, but ultimately transfixing musical drama, pop singer Björk immerses herself completely in this tailor-made role., 31 May 2001 Author: gary brumburgh (gbrumburgh@aol.com) from Los Angeles, California
The reviews were extremely black and white for this art-house film. People were either enthralled or bored to tears by the whole experience. There seemed to be no middle ground. Now, that's my kind of movie. Any picture that can reap awards (Cannes Film Festival) and get lambasted by the general public at the same time will always pique my interest. In respect, it was a rich, rewarding odyssey, much easier to get through than, let's say, even half of "8½." My initial respect for the unique, uncompromising style of Danish director Lars von Trier goes back to his compelling work in "Zentropa" and "Breaking the Waves," both bleak, surrealistic studies of man vs. reality. His pieces usually center around some innocent, simple-minded, self-sacrificing soul who inevitably succumbs to the cruelties of life.I found the central role of Selma (as played by the extraordinary Björk) to be very much the emotional equivalent of Emily Watson's touchingly childlike, near-sociopath Bess in "Breaking the Waves" -- blessed and cursed with a naive, soulful purity. Selma represents one of God's little quirks of nature. A bespectacled, pathetically infantile little ragamuffin completely out of touch, Selma has somehow survived like the runt of a litter would - through luck, will power, and the extreme kindness of those around her. An impoverished Czech-born emigré living in a small Northwestern U.S. industrial town during the mid-60s, this luckless creature manages to eek out a meager Airstream-like existence as a factory worker, despite the fact she is legally blind.Selma is, amazingly enough, a mother. Seemingly ill-equipped to care for a child much less herself, she has nevertheless managed to provide for the 12-year-old boy, while nurturing the child as a young girl would her rag doll. The fairly adjusted boy suffers, however, from the same optic disease as the mother, while the crux of the story revolves around her attempts to save up money for his inevitable operation. The fascination of "Dancer in the Dark" lies in Selma's musical world. With her eyesight failing, her ears become the only sense of joy, falling periodically into bouts of fantasy anytime she grabs onto a rhythm or beat (like machine sounds, train engines, etc.), wherein she becomes the star of her own working-class musical production. These compelling sequences become mere extensions of her real-life circumstances, i.e., the musical interludes at work will include the factory itself as a set piece and the other workers as her ensemble. A strange mix of Fellini neo-realism and Busby Berkeley illusion, these daydreams (sparked by Vincent Paterson's inventive choreography and von Trier's purposely puerile lyrics) become her only escape. Björk's odd musical talent and vocal style may be an acquired taste, but she is so mesmerizing here it becomes a non-issue. In addition, there are brief moments of levity as a hopelessly inept community theater production of "The Sound of Music" goes into rehearsals with the very awkward Selma playing Maria.The subordinate cast is equally in tune. The wonderful, beguiling French star Catherine Deneuve downplays her ethereal beauty as Kathy, Selma's co-worker and trusted friend. And a strange, maternalistic friendship it is indeed, for this woman seems to have no other purpose in life than to be this girl's eyes and hands, looking out for her practically day and night. Peter ("Fargo") Stormare shies away from his ruthless killer image with this touching portrayal of a sensitive, almost pitiable boor who only has eyes for the ungainly Selma. David Morse is gripping as a seemingly compassionate but despairing policeman whose one desperate act involving neighbor Selma results in tragedy. Joel Grey has a brief, telling moment near the film's end as a faded musical star idolized by Selma.As in his other featured works, von Trier's gritty, hand-held camera work may be dizzying to the point of distraction at first but its overall impact to the stark proceedings is unquestionable. Moreover, the grueling paces he puts his actresses through to achieve absolute truth borders on misogyny but the rewards are tenfold. As in the case of Emily Watson, Björk has never shined brighter as an artist.A harrowing, refreshingly original piece of filmmaking that should be experienced by anybody who dares to be different.
83 out of 105 people found the following comment useful :- A Movie To Break Your Heart, 23 August 2000 Author: Outi (outi.heiskanen@sea.fi) from Helsinki, Finland
It feels awkward to attempt to put Dancer in the Dark into words. Von Trier's film is one of those movies that truly change the way we think about cinema and its possibilities, and for such a film, words do no justice. Dancer in the Dark centers around Selma (Björk), a factory worker, who loves her 10-year-old son above everything else in the world. Selma is a happy, innocent creature who enjoys musicals for "nothing bad ever happens in them". These elements (mother's love for her son, joyfulness of musicals versus the hardships of every day life) create a whole unlike anything ever seen on silver screen. Selma is rapidly losing her eye sight, but not her vision: she's the 'dancer in the dark' who is prepared to sacrifice herself to keep the light in her child's eyes. Very early on it becomes obvious that this story can't have a happy ending. However, once you've accepted it, you can put your mind at ease and see the film as it unfolds from Selma's point of view. And what a view it is! Björk gives a performance of a life time - this little woman with a huge voice is all emotion all the time without ever appearing overtly dramatic or cheaply sentimental. There's no weak link in the rest of the cast either, Peter Stormare as Jeff, Catherine Deneuve as Kathy and Siobhan Fallon as the prison guard to name but a few. The biggest star is still the director himself; von Trier demonstrates his talent in a superb fashion by both telling a simple story that will most likely break you heart and examining the ever-persistent ills of the life of the lower class of the American society. What about the film's musical character then? This is where von Trier triumphs the most by understanding the very essence of the whole genre - hope; hope that will live in our soul for ever if we'll only follow our heart.
60 out of 81 people found the following comment useful :- A film so perfect it hurts to watch., 10 November 2000 Author: Pseudo-geordie boy from newcastle, UK
This is quite possibly the most moving film I've seen, it ensnares you within the first minute, or Bjork does with her interpretation of the sound of music, which is both hilarious and introduces one of the main themes: the magic of musicals. Not one of my favourite genres (but everyone loves The Sound Of Music, right?) but Lars Von Trier makes you re-evaluate your perception with a gentle loving pastiche of the way for no reason people and things in musicals spontaneously erupt into song, made more credible in this film by implicating a reason for it: Bjork's character is going blind so she hears music in the slightest thing and she, in her mind, sees how moves should be choreographed with the music she hears, reminiscent of her own ‘It's Oh So Quiet' music video. And the best thing about this film is the way Bjork charms you with her portrayal of the nicest person in the world, she will do anything for you if she could. She is essentially an innocent and though this is her weakness you can't help but love her all the more: a sparkling performance from a unique singer in real life.However from this don't assume that this is a light happy film as there is a dark tragic side also, and this side is full of injustice, agony- and I mean agony-, sorrow- like you'd not believe-, and an intense emotional pull as I've ever felt in a cinema before, and it's this half that propels it from being just a great film to becoming one of the greatest. Its greatness is in telling a simple story of a woman trying to stop her own genetic sight disorder afflicting her son, by working every hour to afford the operation, working heavy machinery despite essentially being virtually blind, its greatness is its ability to inflict upon you the gift of feeling every conceivable emotion you posses and you do, you really do experience so much during this film. But I'll not say too much as my enjoyment of this film increased due to, for a change, not second guessing what would happen but to just let it be, I would say to passively watch but there's nothing passive about this film. It really moves you. It makes you feel alive.This film should be seen alone, in the quiet when you are all by yourself, but more importantly than that it should be seen: this is more than mere movie this is art this is real this is the greatest film I have ever seen: even better than Casablanca, and Shadowlands, and The Piano.
52 out of 72 people found the following comment useful :- A "Musical" like no other before it..., 9 October 2000 Author: izauze (izauze@excite.com) from Milwaukee, WI
Gene Kelly's musicals may never have tempted a tear, but this film sure did. This is the most creative and powerful film I've seen this year. I just got back so it will take a while to absorb where it fits in the hierarchy of great movies, but it is one of the few 10's I have ever given on IMDB. I went in knowing nothing other then that Bjork was the lead and that it was a Cannes favorite, I and was rewarded greatly. I am not closed minded, but I thought I would never again find a musical that so wrapped you up in the emotional core of the piece, such as the musicals that I enjoyed in my youth. Its style is experimental enough that I would be surprised if it got a Best Film Oscar nod, but never would I be surprised for any honors bestowed on Bjork, who torturingly WAS Selma for those two painful hours. She is a goddess.
36 out of 46 people found the following comment useful :- An extraordinary, quietly exploding film - a fantasy and musical, it emanates with human spirits, 20 October 2000 Author: Ruby Liang (ruby_fff) from sf, usa
This is distinguishably different from the general Hollywood films or independent projects. It's not like anything done before. LARS VON TRIER, and BJORK, simply blow your mind away: such totality in delivery!It's gut wrenching - an absorbing tearjerker - but not sentimental. It is in strong doses. (NFE: it may not be for everyone.) The theatre audience was very quiet with occasional sniffing heard. The film may be a fantasy, yet there are subtle jabs at certain social norms and contains hints at how we treat life and lead life.Bjork made it natural, innocent, and naively good. It is all Bjork matter: she is feeling all the joy and pain and daydreaming, saying all those words, singing all those songs, and dancing along to the music she so ingeniously composed. Lars von Trier once again wrote and delivered a 100% powerful film. He packs all kinds of emotions into 2 hrs. and 20 mins.: from the endearing friendship of two working women Kathy and Selma; to the faithful loving pursuit of Jeff for Selma; to the quiet exchanges of seemingly trusting souls of Bill and Selma; to Selma's son, Bill's wife, the crime, the court, the prison's loneliness within; the anguish pain of a determined mother; and the integrated mood changing musical numbers in-between. One scene of Bjork lying motionless with just one finger moving with quiet sobbing heard is powerful imagery.Catherine Deneuve as Kathy is well at ease in her supporting role. She continues to exude her charm quietly. You can tell she thoroughly enjoys the company she's in at this production. Musical-wise, Deneuve is no stranger: besides "The Umbrellas of Cherbourg" 1964 - every word in the film was sung, I also remember Jacques Demy's "The Young Girls of Rochefort" 1967 - she danced and sang with her sister Francoise Dorleac, along with Gene Kelly, Michel Piccoli and George Chakiris.David Morse as Bill (the policeman and neighbor) reminds me of what a memorable performance he delivered in Sean Penn's "The Crossing Guard" 1995 opposite Jack Nicholson and Robin Wright. 'tis great to see Joel Grey dancing again (hm, in the most improbable setting!)For a 5' 4'' singer-songwriter from Iceland, Bjork is a giant impact in this quiet powerhouse of a film, "Dancer In the Dark." Lars von Trier's vision and confidence in Bjork truly paid off!
46 out of 67 people found the following comment useful :- Bjork gives performance deserving of Oscar., 26 March 2001 Author: bandunk
When I was driving to see this movie, I wondered how I was going to react to the film. Lars Von Trier had always been one of my favorite directors, but I was unsure if I was going to enjoy this film. After watching the film, I half to say that this was one of the best films I had ever seen. Lars von Trier used handheld cinematography perfectly and I was especially impressed by how he operated the camera himself. Also the way he used lighting and still cameras in the music sequences expressed the surreal daydreams of Selma.Selma, played by Bjork, is a strong willed yet kind character who is hit by a series of bad events. Bjork plays this role so convincingly it is almost uncomfortable to watch. She doesnt act more than emote the character.With Lars Von Trier directing and great acting, this is far and away the best film of the year. Its unfortunate that America didn't give the recognition the film deserved.
41 out of 58 people found the following comment useful :- My Cinematic Unemotional Streak- Broken!, 13 October 2000 Author: wentzjw55 from Denver, Colorado
This is one of the best movies I have ever seen. I was not familiar with the director's previous work, but had picked up the soundtrack by Bjork and was intrigued.Selma (incredibly portrayed by Bjork) makes the audience laugh and weep simutaneously just by following her heart. Every character is played flawlessly, and the cinemetography is innovative and dynamic. The musical numbers jump to life in a 'colorized' style, emphasizing the break from the dismal reality of Selma's painfully decaying life.I will say only this. I hate crying at movies. Yet, as I was driving home, mad at the fact that I was still sobbing uncontrollably, I realized how much I loved this movie.
33 out of 45 people found the following comment useful :- Experimental, jarring, beautiful, 8 October 2000 Author: pray4mojo from Fairfax, Virginia, USA
Dancer in the Dark haunted me. This film was an amazing view into the human mind as well as a tragic story of hopeless hope, betrayal by others, and still remaining true to yourself. Bjork produces an inspirational performance, of which one would never think she is not primarily an actress. Some of her moments in this film bring you to tears with their absolute honesty. The ensemble cast are a godsend as well. Peter Stormare, Catherine Denevue, and David Morse in particular. Morse, playing the most varied and difficult character, succeeds with apparent ease. The only complaint I had of the film is that it was slightly drawn out and slow paced. However, it is still spiked with moments of surprise that knock you so hard, you are pulled back in immediately. With an incredible closeness to these people, Dancer in the Dark will make you think and stretch your emotions to the limit.
30 out of 48 people found the following comment useful :- intensely emotional and deeply pensive, 28 January 2001 Author: Aron Ford from Santa Cruz, CA
As a fan of Lars Von Trier's earlier works, as well as Bjork's music videos, I was quite excited to see a collaboration between the two. I tried not to expect much, however, as many reviews of the film were quite poor. I couldn't have been more delighted by the film. Bjork's acting ability was superb (it is a shame she will not be acting in the future), and Lars Von Trier's writing and direction proved to be intense and incredible. While he played with different themes in the genres of the Musical, the Neo-Realist film, and the Melodrama, he created a meta film, investigating human nature as well as the nature of film (or digital video) itself. An incredibly emotional film, it also proved to be poignantly intellectual.
Add another comment
