Genre: psychosocial drama
Director: Lars von Trier
Release: 2003
Studio: Arte France Cinéma, ARTE, YLE, Lionsgate Films et al.
*Quote inspired by The ‘60s – Decade of Tumult and Change, a special issue of LIFE magazine dated Dec. 26, 1969.
Rating: R
MBiS score: 8.1/10
‘When she yelps, it’s not a sign of pain, it’s a sign of joy.*’
The Depression has been raging for some time now and the people of Dogville, a hamlet in the Rockies, have gotten used to humble living and isolation. Nevertheless, when gunshots resonate one night and a pretty young stranger named Grace (Nicole Kidman) is found wandering in the streets, Tom Edison Jr. (Paul Bettany), the local philosopher, takes it upon himself to help her out. With John Hurt (the narrator), Lauren Bacall (Ma Ginger), Patricia Clarkson (Vera), Stellan Skarsgard (Chuck, Vera’s husband), Ben Gazzara (Jack McKay), Philip Baker Hall (Tom Edison Sr.), Zeljko Ivanek (Ben), Chloë Sevigny (Liz Henson) and James Caan (the man in the car).
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In 1964, when animal lovers chastised President Lyndon Johnson for pulling his beagles by the ears during a social gathering, LBJ answered that his pets loved it. Johnson’s reply – paraphrased above – eloquently reflects my mood after seeing DOGVILLE. It’s undoubtedly a solid and challenging film… but does it ever sting!
At first, I found DOGVILLE a bit confusing since it was produced with starkly limited means and without formal decor; all of its scenes were shot indoors under artificial lighting and with scant perspective, the set being surrounded by a white or flat black background. Moreover, the town’s buildings being represented only by rudimentary structures and white marks on the studio floor, characters were required to mime routine actions (entrances and exits, for example) and deprived of the most basic intimacy. Given these visual and creative constraints, you may need some time to adjust to the hamlet’s closed-in universe and Lars von Trier’s film, already longish at nearly three hours, appears achingly slow in its first half. Fortunately, the movie’s dramatic flow tightens up considerably afterwards and its awkward set-up, far from being a simple gimmick, truly mirrors the dilemma Grace’s presence forces on the townspeople.
But what sort of a beast is DOGVILLE, may you ask? Essentially a cross between fable and surrealist theatre, a cringeworthy meditation on fear, ignorance and oppression. This is not feel-good fare, not by a long shot, but high-impact cinema that slowly reveals its true nature and leaves you shuddering long after you’ve heard its important closing song. Its stiff political message will not be appreciated by all viewers but its power cannot be easily dismissed.
Even though DOGVILLE involved very little in terms of production values, it never feels cheap or unprofessional and its strong cast doesn’t disappoint. Nicole Kidman delivers a marvellous performance as the stranger who is tested again and again while John Hurt’s stylishly written narration adds to the tragedy conveyed on screen; I also liked Ben Gazzara and Paul Bettany, whose character bears a name both symbolic and ominous. The film’s subjects are often captured in tight close-up, as was the case in BREAKING THE WAVES, von Trier’s luminous work from 1996.
That’s about as far as I’ll go for now and, notwithstanding my recommendation, I must advise you that DOGVILLE is not a film for all tastes. It’s certainly a brave statement and a stunning work by an inventive European filmmaker… but be aware that it edifies and horrifies in equal measure.
MBiS
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