The aptly named newest Lars Von Trier film, Melancholia, is a startlingly feminist
film, despite, or perhaps in spite of, his traditionally absurd and sexistremarks about women.
Melancholia is obviously known as a vague depression and was
traditionally associated with women, indicating again its suitability for a
film that revolves around the final days of a mentally ill woman and her
sister, as a giant planet named Melancholia races to earth. It takes no great
stretch of the imagination to understand that the planet that just happens to
be named after a morose malaise is also bringing out the exact same malady in
it’s emotive protagonist, Justine (Kirsten Dunst).
Not only does the film pass the Bechdel test with flying colors
(there are multiple women with names who do lots of talking about things other
than men), but it also offers an incredibly moving portrayal of the effects of
depression and schizophrenia on those suffering from the issue and their
families. In one especially moving scene, Justine is being helped into a
bathtub by her sister Claire (Charlotte Gainsbourg), who is patiently urging
her to just take one step into the water: try as she might, no matter how hard
she attempts to lift her leg, she collapses next to the bath in tears,
exhausted by the effort.
Obviously the crux of the movie revolves around the sisters’
relationship, showing their moments of love and support towards one another,
followed by periods of anger and lack of understanding. I particularly admired
the final moments of the film where it’s obvious that the two women still don’t
see eye to eye, but ultimately find redemption in each other’s company and, I
believe, offer a hopeful ending to the mournful movie.
One thing that also impressed me about the film was its
ability to effectively discuss and incorporate both sexes in a realistic manor.
Often, it seems that a film can only portray one sex accurately at a time
(obviously there are exceptions, but as rule I think it holds true), however Melancholia’s male leads were also
unique and full of their own strengths and weaknesses. Most notably, Kiefer
Sutherland as Gainsbourg’s wealthy, but level-headed husband who shows both
great generosity to his wife’s ill sister and great cowardice in the final
moments of the film, and Alexander Skarsgard as Dunst’s naïve new husband,
who’s gentleness and optimism in believing that he can take away his wife’s
depression is both sweet and all-too-common.
Additionally, perhaps this is just my love of E.M. Forster
surfacing, but Melancholia reminded
me of his fabulous novel (and the Emma Thompson/Anthony Hopkins film), Howards End, which also deals with the
same themes of sisterhood, redemption, the breakdown of social structures, and
our mental and physical compulsions.
Melancholia is
exceptionally slow moving, definitely feeling like the two hours that it is, however the acting is
phenomenal, the cinematography and landscape gorgeous (and also reminiscent of
Victorian England), and possessing a detailed and realistic dialogue; There are
even some moments of very delicate humor, (enjoy the opening scene involving a
very long limousine and a very small driveway).
On the whole I think the film is an impressive piece of
movie making and well-worth the slow-moving plot to see an excellent handling
of mentally illness and the films overarching theme: isolation.
Be aware that the film does contain several instances of
nudity (none sexual), a disturbing scene of a female raping a man, and some
language.
What do you think of the film? Was it a feminist film? Does
the absurd things that von Trier says about women influence your experience of
the movie? Would it stop you from seeing it entirely?
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