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LARS VON TRIER #2: GETTING FUZZY WITH DANCER IN THE DARK
Manage episode 461768587 series 2854826
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DANCER IN THE DARK (2000)
Broadcasting live from 1964, and entirely in song, this week’s very special episode of TGTPTU covers Lars von Trier’s sixth film (but only our second of his covered this 4x4): DANCER IN THE DARK (2000).
It’s been over a hundred episodes, since Season 1’s Paint Yer Hereafter ep during our Clint Eastwood coverage, that TGTPTU has covered a musical. Dancer in the Dark, the third entry into Lars von Trier’s Golden Heart trilogy, follows LVT’s preceding two film both in being shot à la the Dane’s handheld style developed during TV show The Kingdom and in their general plot of a woman who sacrifices more than most would believe conscionable. And starring in Dancer as that woman, an immigrant named Selma with diminishing eyesight who takes on extra shifts at the factory and side work to finance her son’s secret surgery and slips into worlds of musical fantasy, is Björk.
At perhaps the height of her stardom (and somehow choosing to be in a relationship with TGTPTU’s previously discussed avant-garde director Matthew Barney), Björk in her first major movie role had a stake in the production and her own interpretation of Selma, which caused friction on set with the notoriously controlling Danish director, but likely contributed to her winning Best Actress at Cannes and the film the Palme d’Or. That friction may have been caused by her taking on an emotionally fraught role, especially in the second half of the film as Selma faces execution for a murder she did not intend for reasons she cannot share or else risk the wellbeing of her son. The situation onset may have also not been helped by alleged events that came out during the #MeToo, which while referenced in the episode can be found more fully here:
As to that handheld camera style, often held by LVT himself, its digital video and potentially jarring, anti-Hollywood time cuts are complimented with a second camera aesthetic reserved for the musical moments, called “100 cameras.” This technique involved using a hundred stationary DV cameras of lesser quality than the one used for handheld footage. The hope for this multitude of cameras was for them to capture a single take of a performance without different setups. These cameras were remotely operated on ten monitors hardwired with a toggle switch inside a special construction trailer hidden in the background of the shot. Alas, this hope, unrealized, for the capture of movement to allow smoother cutting than the time cuts LVT used for the handhold was not to be. Yet the hundred camera experiment would still allow for a different feel and aesthetic from the handheld footage, especially when their transfer to film used cathode ray tube (verses the sharper laser transfer for main handheld DV camera).
So tune in on your home system or your crystal radio on the a.m. dial, close your eyes, and let the dulcet voices of our four hosts’ song set against industrial percussion transport you up through your ceiling and into cinema heaven.
Clang! Bang! Clatter, crash, clack!
THEME SONG BY: WEIRD A.I.
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Letterboxd (follow us!):
Ken: Ken Koral
Ryan: Ryan Tobias
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