Trier directed the comedy. Any individual who’s even a bit familiar with all the work in the Dane, at the very first news of the, should at the very least be blown away, and even more correct – not believe the source. Although in fact, why not believe? Trier, for starters, is an innovator, a guy who does not like to walk the beaten path and literally re-opens cinema along with every film. So why not? You will want to a comedy?
But Trier always knew how you can outwit everyone and provides this kind of trick the fact that jaw often went into a completely independent walk. He did not change himself on this occasion either … Comedy? Well, of course. Did anyone really expect a comedy within the standard, classic, disgustingly banal understanding of your word? Lars is dislike that. Instead of the this, he slipped the naive viewer into fusion from comedy, social drama, and even some semblance of a thriller or simply a detective. The effect was obviously a movie which had been outrageously topical: about losers and selfish people; about how precisely people build and destroy walls of misunderstanding in relationships; a film in regards to the the fear of not being loved, well, also about the workplace atmosphere, which from your sane person, even eventually, will create a clerk, having its internal cockroaches the size of a compact Godzilla.
When you’re getting started, it might seem the film is amazingly basic and poor in good fresh ideas, like a church rat for dollars. But it was not there. The concepts supposed to be a sitcom became a rather deep philosophical parable with social connotations. At the same time, no one powered down humor from the action, and there are even a handful of moments once you laugh – not simply somehow maliciously and deeply inside of your consciousness, but you may also frankly give your feelings a voice.
Trier, of course, plays using the viewer, leaving by far the most delicious towards the finale, and throughout the plot, its formation and setting, only throws small pieces, forcing emotions to be effective, and the check out rest for the time being. Only after a final credits, once you sit in bewilderment and try to understand what the heck it was now, pieces of an office building and gray mosaic slowly begin to create at my head, in the picture of which happens to be buried what only essentially the most attentive and thoughtful viewer can see.
Trier learns how to create the sense of a good storyteller and also if he manipulates, he does it mainly for major benefit of the viewer himself. Perhaps that’s the reason the actors in their paintings always play to the extent that they can’t create the sense of falsity and insincerity. Sometimes it even appears that on the screen there will be the most real clerks, losers, actors, bosses along with inhabitants of a compact stuffy office within the picture. Trier doesn’t need expensive, but what perhaps there is, just at the least some interesting decorations. In The Biggest Boss, we see an environment generates a floor in Manderlea and Dogville look very worthwhile inside the background. At the very least, it does not choke like a compact, cramped and form of boring office space.
Realism is most importantly, therefore music can be useless. Should we often hear music in actual, 123 movies just speaking with someone or contemplating our daily bread? It truly is unlikely. … So we don’t hear from Trier. Scenery, music, actors … oh yeah! A new feature in the maestro also appeared in the modern film. Now young drivers . behaves as a storyteller, taking stage along with comments from the outset, end and core picture. Such performances look quite cute and charming, crowning the film in the same manner as a smallish but bright cherry crowns the top of a huge and beautiful cake.
Well, and a few words should be said about our next invention with the Danish genius – “Automavision&rdquo ;.This sort of cool thing. After the initial reports the fact that entire film was filmed with no participation in the operator, I somehow expected more tin, much a lot more than I received from the end. Well, yes, in places the faces of men and women are halved, the camera isn’t going to show the interlocutors, but a nonsense, but at the same time everything doesn’t bother in the least, but only brings another part of realism in the picture.
Conclusion: Trier filmed a motion picture that had been passable for himself and robust for another director, which leaves a sense of understatement and depth, to access which you have to spend a lot of time and effort.