AccessMyLibrary provides FREE access to over 30 million articles from top publications available through your library.
Create a link to this page
Copy and paste this link tag into your Web page or blog:
Since his 1995 critically acclaimed "Breaking the Waves," Danish director Lars von Trier has been hailed as a filmmaking genius--and dismissed as an eccentric blowhard. His latest film, "Dogville," starring Nicole Kidman as a sweet-natured girl on the lam, proves he is both. "I am liberating the cinema, like America has liberated Iraq," von Trier boasted to NEWSWEEK the day after "Dogville" premiered at the Cannes Film Festival last month. "I'm not satisfied with the way things are, and furthermore, I'm willing to do something about it. I'm the Che Guevara of the film world, and I will end by being betrayed."
Betrayal is a consistent theme in von Trier's life. Raised a Jew in Copenhagen, the only child of communist academics, Trier--as he was known then--was so bullied at school that he dropped out. He eventually entered the Danish Film School, where he added the aristocratic participle "von" to his name. In the mid-'80s he made his first trilogy of feature-length films, "The Element of Crime," "Epidemic" and "Europa," which won the Grand Prix at Cannes. After the awards ceremony, von Trier memorably declared that he deserved the festival's top prize, the Palme d'Or, and called the jury's president, Roman Polanski, "a dwarf."
He has been betrayed in his personal life, too. In 1995, von Trier's mother confessed on her deathbed that her husband had not been the boy's biological father. His real father was a classical musician and a Roman Catholic. Von Trier converted to Catholicism, split from his first wife, started taking Prozac for depression and set to work on "Breaking the Waves," a riveting drama about a bride whose crippled husband asks her to make love to other men and then tell him about it. When it premiered at Cannes, "Breaking the Waves" left audiences weeping and went on to win the Grand Prix.
At the same time, von Trier reconsidered his method of filmmaking. He and fellow Danish director Thomas Vinterberg dreamed up a manifesto called Dogme 95, with 10 "commandments" that included filming only with ...
Source: HighBeam Research, Directing In the Dark.