Dogville

[Still in editing stage]

Much as his 2000 film Dancer in the Dark used the intersection of the American film musical and maternal melodrama film genres to form a commentary on working America, so Dogville mixes a variety of styles, genres, and references to again comment on America and, this time, its relationship to poverty and the poor.

One of the most obvious references of this film, made through the minimalist sets, is to Thornton Wilder's play "Our Town." What this brings to the film is the sense that it is operating as a counter to that play's portrayal of the quintissential American town - Dogville opposed to Grover's Corners. Whereas "Our Town," through Emily, works to reveal the need to appreciate life as it happens since life will not last, Dogville reveals, through Grace, that the mere enjoyment of life has its limits. While Emily comes to realize after her death that the living do not get life, Grace comes to realize that the realities of life often overcome it's appreciation. Throughout the film, Grace submits to the charms of Dogville and its residents out of, first, an enjoyment of the experience of living that life in the mountains. When it all comes apart - after the initial rape and the smashing of her figurines - she continues to submit to Dogville out of a feeling of obligation to the kindness they once showed her. She remains willing to forgive them for everything out of an understanding of the risk they think they are taking.

The second reference that struck me through the film was its connections to the "Runaway Bride" version of screwball comedy from the 1930s typified by It Happened One Night. In terms of a general plot, Dogville and Happened share a number of similarities. They both concern a wealthy woman running away from the responsibilites and obligations of her class - marriage or ascencion to power. In both films the women meets with and is taken in by a man who is out of work, poor, and at odds with those who are his immediate superiors - an editor or the town. Both men see the woman as a way back into the graces of those above him, a way of showing his talent and, by extension, his necessity to those above him. Ultimately, in each, the woman learns something from the man about the American spirit and he learns from her about love.

In the specifics, however, Dogville rewrites the uplifting Capra film into a scathing critique of or perhaps revelation about American poverty. Here, Von Trier uses to scaffolding of the screwball comedy to write an exceedingly dark film that reveals the lengths of exploitation that individuals will go to when they occupy power. While Happened toys with the idea, and dismisses it, through the "Walls of Jericho" and threats to the travelling salesman, Dogville plays them out and pulls the walls down and makes good on the threats. The implication here being that this is what "real" people would be more inclined to do.

TCM this week

Let's see what is coming up this week on TCM.

Today, Monday 4/11, continues April Fools with Charlie Chaplin all day. I haven't really watched enough to say too much, but I have to admit that I have never been a huge fan of his. There is something about the comedy style that I don't like - I am tempted to say that it is too aggressive for my taste, but I need to see more to clarify that.

Tuesday night continues the Errol Flynn tribute. I watched more of The Adventures of Robin Hood last week than I had seen in quite some time, but still found it lacking some of his other films. I certainly see his charm, though. He may not have been the most talented actor, but the camera sure does love him and his voice is superb. Anyway, tomorrow night there are no films of his I have seen, but The Charge of the Light Brigade (1936), Escape Me Never (1947), and Dodge City (1939) sound the most promising to me. I take that back, though. I did see Virginia City (1940) last month and found it about typical for a Flynn vehicle - good action with some romance with Flynn sving the day all around. Bogart makes a good villain here.

Wednesday continues April Fools with "Classic Stage to Screen Comedies." All look great, but I highly recommend The Front Page (1931), Dinner at Eight (1933), and The Women (1939).

Thursday morning is a brief tribute to Lee Tracy who, frankly, I have never noticed or heard of. I'm trying to put a face to the name. TCM will screen five films that morning from 1932 to 1937. I will try and see a couple to see who this is. To top it off, some of the titles sound interesting.

Friday's April Fools features Brown & Carney in the morning and Abbott & Costello at night. I haven't seen any A&C since I was a kid, so I'm not sure how I will feel about them now. I may try and see some with my son to see if there is a similar reaction as there was to Laurel and Hardy. I am going to suspect not as the medium will have changed between the early 1930s and the 1940s. I suspect that the humor of A & C is much more narrative driven and thus might not be as accessible to a four year old.

Enjoy the week!

TCM catching up

Wow, has it been that long? Needless to say, things have been very busy, but I'm glad to be able to get back into things.

April on TCM looks good. The April Fools selections look great and, as I mentioned earlier, I am finding myself to be a fan of Errol Flynn, so I am looking forward to seeing more of his films.

Let's get into things.

First, for the past week, on Firday I caught some of the day long Laurel and Hardy, and it was great. My son (4) and I watched The Music Box and loved it. He keeps asking for it. I also taped Blotto and hope to watch it with him this week.

Let's see what's coming up this week.

All day tomorrow, Monday, is a spotlight on Charley Chase featuring silents of his the whole day. I hope to be able to watch at least a few of them.

Tuesday must be a dream day for me - Bette Davis all morning and then Errol Flynn all night. I wish I could watch all day. I recommend all the Davis films, but especially Of Human Bondage (1934) and All This and Heaven Too (1940) which I, surprisingly, saw first only two months ago. Outstanding.
As for the Flynn, TCM is featuring a new documentary on him at 8:00 and 11:30 which should be interesting. Sandwiched between is The Adventures of Robin Hood (1938), which I am not too fond of, but the later showing of the documentary is followed by Captain Blood (1935) and They Died With their Boots On (1941). The latter is a film that would consistently make my top ten list should I construct one. (Maybe I will.) Every time it is on, I must watch it even though I find it at times a horrible film.

Wednesday sees another Davis film, It's Love I'm After (1937) with Leslie Howard and Olivia DeHaviland. That evening is a three film tribute to Preston Sturges, with Sullivan's Travels (1941), The Lady Eve (1941), and The Palm Beach Story (1942). Of the three, Eve is by far my favorite and, as I mentioned last month, one of my all time favorite films. (Two in two nights!).

Thursday slows down a little for me, but features films by Bogart in the evening. To Have and Have Not (1944) remains a must see even though it is often overshadowed by Casablanca (1942) and The Big Sleep (1946). Not to take anything from those films, but Have remains special.

Friday returns to April Fools with some Marx Bros. films in the day and evening. I am only now seeing more of these, so I am not sure what to recommend at the moment. I'll get back to this one.

I'm going to stop here for the moment and will continue later.