Well, here it is. Yet another film response. While I don't kid myself enough to think that any of you are all that interested in reading my accademic papers, I do believe you are interested in the movies themselves. Half documentary-style, half musical, and lead by a quirky and creative Bjork, "Dancer in the Dark" is another strange wonder. This movie is the last of von Trier's "Golden Heart Trilogy" based on a book the director read as a child about a little girl who sacrifices everything to an unforgving world and is rewarded in the end. It is debatable weather or not the film's heroine receives her reward. I'll let you judge that one for yourself. I have yet to see the other two films, "Breaking the Waves" (1996) and "The Idiots" (1998), but please send me your comments on these if you have. I have heard only good things thus far. I suppose what I'm trying to say is: go see this movie...and bring tissues. You're in for a bumpy but beautiful ride.
Lars von Trier’s “Dancer in the Dark” (2000) contrasts documentary and musical film styles to fully express the inner world of its central character, Selma Jezkova. The differences between Selma’s reality as a blind immigrant factory labourer, and her fantasy as a singing and dancing free woman are depicted using colour, camera movement, and sound.
Selma’s dream upon immigration was to live in the world of the Hollywood musicals, but her reality is drab and colourless. The shots of Selma’s real and difficult life are all done with a low-colour digital camera. The camera, combined with the gray and brown wardrobe of the factory workers emotes the lifelessness and hopelessness that Selma feels. Though the costumes and surroundings are constant between reality and fantasy, the quality of colour and light changes, as does Selma’s view on the quality of her life. When contrasted with the vibrant colours and pure sunlight of her musical fantasies, the protagonist’s reality seems more sullen than ever.
Camera movement provides emotional cues to the audience as well. The shakiness of the handheld camera may indicate the instability of Selma’s situation or the lack of control she has over her life. During the more traumatizing or difficult moments, such as the struggle with Bill or the attempt to walk the first of her final 107 steps, the cameraman seems to have lost his legs as the framing sways sickeningly. Selma’s fantasies, however, are characterized by steady shots. Rather than one handheld digital, von Trier used 100 fixed cameras for the musical sequences. The steadiness of the cameras indicates a level of control, and therefore peace, Selma can only obtain in a world of her own creation. The increase in the number of cameras even mimics the expansion of the protagonist’s world gained through her imagination.
Von Trier also uses sound to depict the woman’s emotional state. Possibly as a result of her blindness, Selma thrives on sound and rhythm for her pleasure. As such, the protagonist’s level of joy and despair can be measured by the amount of rhythmic sound in the film. During her most difficult moments on death row, Selma struggles in the absolute silence of her cell. Throughout Selma’s struggles in reality, there is little or no soundtrack, consisting of only ambient “natural” noise such as wind, a heartbeat, voices, and footsteps. When the character escapes into her self-made musicals, the pattern of such sounds becomes more organized, voices begin to sing, and there is even an orchestrated score at some points. The increase in volume, complexity, and organization of the sound is an indication that the character is experiencing heightened levels of pain or sadness requiring such an escape into a new and joyful world.
Through colour, camera movement, and sound, “Dancer in the Dark” draws the audience into Selma Jezkova’s world. Lars von Trier contrasts the documentary and musical film styles in an innovative way creating a powerful emotional connection with his self-sacrificing heroine.
