21. DOGVILLE. (2004)
Directed by Lars von Trier
I’m fully aware that this is going to be a controversial choice in some quarters, but I still think this is an extraordinarily effective piece of work. Nicole Kidman plays Grace, a woman who arrives at the village of Dogville, looking for work and somewhere to hide from mysterious pursuers. She’s reluctantly accepted into the village, but soon finds that the price for her stay is very steep.
Von Trier is not a director known for his subtlety, and DOGVILLE certainly does nothing to correct that. This is a divisive piece of work, whether it’s the validity of the allegory, or more likely, his decision to eschew the normal rules of filmmaking, and shoot the whole film on an empty sound stage, with buildings and landmarks drawn on the floor in chalk.
It’s, without doubt, something that can be seen as a gimmick, or even a waste of cinema’s true potential, yet I believe that the outcome thoroughly justifies the director’s decisions. The lack of physical walls in the village, merely makes Grace’s new situation more claustrophobic, and increases the complicity of her neighbours (literally walking past) in her abuse.
The film wouldn’t work without great performances, and they’re delivered in spades, with Kidman better here than she’s ever been. She’s ably supported by Paul Bettany, Patricia Clarkson, Lauren Bacall, Ben Gazzara and Philip Baker Hall. Meanwhile, John Hurt narrates, making full use of his lugubrious voice to great effect.
DOGVILLE works as a piece of experimental cinema, expanding the possibilities of the medium, although, maybe as little more than a gimmick – the sequel, MANDERLAY, was nowhere near as effective. It also, works as an allegory, for the way America (represented by the villagers) treats immigrants. Grace is exploited, treated as a second-class citizen and raped systemically. It’s not hard to see Von Trier’s point, and it’s one that he makes in coruscating fashion, with a quite brilliant film.
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