Add to this running theme, then, a satirical take on democracy in action (the scene where Grace institutes a voting system is astonishing) and the obvious loaded racial aspects (a strange dissonance occurs whenever narrator John Hurt uses his rich English baritone to intone the N-word), and it becomes clear that Von Trier is serving up a potent dish. The potential explosiveness of his material, I think, even catches Von Trier a bit unawares at first. He certainly seems off his game in the opening half-hour — his normally precise setups are clumsy, with the editing coming off as especially ragged. Because of this, the ensemble cast blends into a muddle, with even actors as distinctive as Chloe Sevigny and Udo Kier disappearing into the background.
Furthermore, the film's central conceit feels like nothing more than a gimmick at the outset. Manderlay, like its predecesor Dogville, was filmed on a bare soundstage. There are some props and structures, but for the most part the buildings, trees and other important locations are marked off with chalk outlines. Where this Brechtian device was an integral part of Dogville (among other things, it despecified the locale, making the allegory all the starker), it's less so for the first chapters of Manderlay. The situation presented as the film's setup - American slavery continued beyond its natural ending point - is so specific that the empty set comes off as an afterthought, a superfluous appendage from a previous incarnation.
Patience has its rewards, though, and once Grace asserts control and tries to better the lives of the Manderlay slaves, the spartan sets become indicative of the situation of the cast-off slaves - a literal representation of a social class starting from zero. At this point in the narrative, Von Trier has regained full control of his filmmaking skills (the dizzy god's-eye shot of Lucifer's Well that opens Chapter 6 is a particular stunner) and his ability to manipulate the emotions of an audience. Given that the second act wanders down some jagged paths, this resurgence is not just relieving but necessary.
His storytelling skills improve too, with one glaring exception - the subplot involving Grace's lust for an imposing slave named Timothy (Isaach de Bankole). This strand is a flagrantly bad idea from the minute Willem Dafoe talks about "female fantasies" all the way to Howard's surprising nude scene, and it wounds what are otherwise airtight second and third acts. Von Trier's provocations tend to be deliberate but meaningful; I can't escape the thought that this particular bit of race-baiting is merely intended to tick off the more sensitive souls in the audience.
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Article comments
1 - Snarkattack
Good review, thorough. It sounds like this is pretty much a rewrite of Dogville so I wonder if it will have any impact on me if I choose to watch it?
I understand Von Trier is a filmmaker and all, but this Brechtian stuff is a bit...old. Uh, yeah, we got it the first time in Dogville. I mean, didn't Grace (as a character) learn anything from her stay in Dogville? In reference to coming into a small community and though she be just one person, it significantly alters the dynamics of the community, does it not? So how could she not see that this would happen in Manderley?
Hmm...
2 - Steve C.
I think the point of Manderlay is that Grace learned all the wrong lessons from her stay in Dogville. She has power and she has knowledge; the problem is assimilating these things into a workable world outlook. I know a lot od Dogville lovers who think that Von Trier ruined the character of Grace with this film; I think it's an evolution that makes sense.
And the Brechtian thing isn't as effective as it was in Dogville, but that has a lot to do with the shock of the new having worn off. (Well, that and Lars not thinking this one out as well.) Still works well enough, though. Hope he still does Wasington one day...
3 - Snarkattack
Thanks for explaining that Steve - that does make sense. So I guess it's supposed to be ironic then?
I didn't realise Von Trier planned this Dogville thing as a trilogy. I probably wouldn't go out of my way to see this film you've reviewed but if it's on cable I'll watch it.
4 - blahreview
i saw dogville and i hated it for how it made me feel. i wasnt ready for it because after a year i checked it out again and i was the opposite. i went back in von triers catalog and love his work. incredible storyteller. the brechtian style is very effective. very strong movie, this is a good review. i think one can discuss his movies in a class format. manderlay is another step forward for him and i cannont wait for the third in the installment.
5 - mindyssong
personaly i like Bryce very much but didnt think she fit this roll. as for the film along with Dogville, the message seemed to me is dont trust the poor and hungry, because they will f--- you...in these two cases ...literaly. i did like the stories, even though i wished manderlay would of eneded with the same solution. they did deserve it. all in all though, most of it was very unrealistic and and definately bore the european mind set of america. For Bryces sake, she needs to pick her rolls better.