Review of Breaking the Waves (2014) by Vincent B — 09 May 2009

Element of crime, Dogville Manderlay and perhaps even Epidemic. Figured out what? It should be either albums by a confused musician, theme of an art show or a even perhaps anything that may sneak into your imagination. However, there is a unique and a quite probable connection between these and it is Lars Von Trier. Another one and the point of contention is Breaking the waves, a film directed by von Trier in the late nineties.

Now that it is about a film, writing a glimpse of the plot would be beneficial, and could give a hint about that this whole load of words could mean something about a fictional work, may be a cinema, a novel or even a drama. But who cares? Its not the plot that is important. (May be because getting a glimpse of it is not that difficult).

Picking up Breaking the waves for the Seventh or may be the eighth time might not be the best reason for this typing exercise. Not even for the glimpse that anyone would read it in IMDB or any other silicon shit. (Not exactly, silicon is good you know (in most of sense)).

It was for the first time it was seen. Bess, Jan, Dodo, Dr Richardson for the nouns; Oil rigs, Glasgow, Hospital for the places and as it is widely put on the knowledge hub â??Golden heartâ?? for the adjective. These are not merely what they are, but when put together and filmed resulted in breaking the waves.

Von Trier has yet again displayed his flowing ability to make cinema as it is supposed to be watched on a Mac in a coffee shop (sentence for modern cinema). Be it the wedding, the seal opener in the toilet, phone sex , or the last seat bus adventure von Trier has his own say. His visual treatment of the human body (unclothed of course) and their unison exploits the impressionability that is unique to cinema. At least to nude human bodies, forgetting sincere pornography in a social circle.

Not a while does he make you realize that you should be doing something else worthwhile than watching this. When Jan makes his demand, it might not have been surprising. Nothing is surprising in the film as it is kept utterly simple and tangible. At the end of the day the certainty about Bess certainly vanishes. She just stays as Bess and trying to use adjectives for her would only make it more difficult. Recalling Bess: what was said about her and what was said by her would only take it further towards a line but not into a territory. All this is powerfully and stylishly expressed.

Emily Watson as Bess and not to forget her God the Father with his hoarse firm voice leaves an image not for the film alone, but for the whole point of the character which might exemplify faith and adamancy. Her funeral exhibits the crux of the whole issue with her being perhaps a different version of the Man who bore the cross. Lars von trier has kept this one very simple and has yet produced amazingly and astonishingly powerful cinema.

So you are better off watching it to make your own typing exercise than reading this. (You may have to watch these lines. (Better than a signature for talking about others works)).

Dancer in the dark waits, not to be watched but to look for things that might make waves be born again.