Review of Dancer in the Dark (2000) by Ricardo C — 23 Jun 2011

A Czech immigrant who is slowly going blind is accused of stealing from and murdering her neighbor.

Much of the film is shot in the style typical for a Lars von Trier movie with grainy handhelds, quick zooms, and a camera that bounces from speaking character to speaking character like a tennis match. I found much of this unsettling in a bad way. Whereas von Trier's camerawork in Breaking the Waves often echoed the turmoil of the characters and situations, in Dancer in the Dark there is a serenity to Selma that we don't see in Emily Watson's character.

All of this ends during the musical sequences that are shot in the style of classic Hollywood, complete with fantastical dance numbers and Bjork vocalizing to her heart's content.

This convergence of styles works by and large, but only on a thematic level. I found myself so annoyed by the style of the dramatic sequences that I was hoping for a musical number, and then when I tired of Bjork's singing, I was relieved to be returned to the grainy film that I was just released from.

The plot is rather pedestrian, and everybody knows how depressing the ending is going to be by at least the forty-fifth minute. There is a degree to which this film is emotionally manipulative, but I also found myself sympathizing with Selma enough to wish for some unrealistic deus ex machnia.

Additionally, Bjork, from whom I wasn't expecting much, turns in a compelling performance. Her smile is guileless and innocent, and in the few moments of happiness that the film's story allows her, she lights up the screen. She makes the final sequence heart-wrenching.

Overall, fans of Bjork, slitting their own wrists, and Lars von Trier will find a lot to like about this film.