A FORCE OF TWO NATURES.

Another old SCENE piece.


There is a lot that can be said about Lars Von Trier. The Danish film making whirlwind has built up a reputation as being both problematic and endlessly innovative and in the process has received a fair dose of criticism and analysis as to the nature of his tactics. Chief among these are how he tries his damnedest to stump the viewer with each successive project and is always bent on redefining himself through his art. He has forged a resume that includes such startling achievements as the films 'Zentropa', 'Breaking the Waves', the loopy mini-series 'The Kingdom' (remade to ill effect by Stephen King-beware!) and served as one of the founders of the cinema movement Dogme 95 which posited a series of bare bones criteria under which their projects be made.

Some have pointed to his seemingly cold dissection of the human condition and this has been reinforced by many an observation from thespians who've toiled under him. He is alleged to posses a calculating and even cruel manner in his approach to the crafting of a film. Be it as it may, his dedication to his chosen craft is unmistakable and he dares to produce work that, love it or hate it, stands invariably apart.

A case in point is this months subject, 'The Five Obstructions', a piece that took me by sharp surprise at a time when I had been thoroughly abusing my senses with far too much glossy big studio jetsam. All I can remember is a trip to the library that resulted in me bringing home 'Superman Returns' and finding that, at the conclusion of that films ridiculous two and a half hour running time, being left feeling that the Hollywood blockbuster machine has finally ground itself to a stand still. So much sorrow from so much hype. Well anyways, I decided to cure my corporate movie hangover in the only way that seemed feasible. I put myself in true movie nerd mode and dug around for whatever odd ball shit I could to abate the pain.

Enter 'The Five Obstructions'.

The film is basically a document of a protracted duel of wills (taking place across several years) between two Maverick directors hailing from the film community of Denmark. The instigator of the whole affair is the aforementioned Von Trier who cobbles together a rather ingenious challenge for a long standing hero of his, a Mr. Jorgen Leth. Leth is the creator of a short film/anthropological satire from the 1960's entitled 'The Perfect Human'. A personal favorite of Von Trier's, the film simply displays a pale, lanky Dane acting out a series of mundane tasks and behaviors to the accompaniment of Leth's inquisitive narration. What the mischievous Von Trier has in mind is to have Leth re shoot his film on five separate instances. The major factor in each is a list of guidelines (the 'Obstructions' of the title) by which he must adhere.

Setting forth in each instance, Leth employs the restrictions to his increasing advantage, much to his counterparts chagrin. The first of these reworkings is set in Cuba (inspired by Leth's predilection for Havana cigars) and must not contain a single shot lasting more then 12 frames (equaling a duration of under a second). The end product maintains a wonderful, frantic vibe that sets the rhythm of the piece and sharpens the vibrancy of the already bold Cuban settings. A second assignment finds poor Leth absconded to the worst place he can imagine, which turns out to be the red light district of Bombay. This leads to a striking set piece in which Leth takes on the main role of a man at a table dining in luxury while through a silk back drop we can see a gathering of impoverished locals looking on. This results in scorn when shown to Von Trier who reminds his fellow auteur of an additional rule that dictated the surrounding environment not be shown. As punishment for this discrepancy, Leth is told to make his third version utterly free of obstruction, the thought being that lack of restriction will dull his creative impulse. Whether or not this is the case is left up to the viewer, but for me the results (set this time in Brussels, Belgium) bare more polish and diluted energy then its successors.

Seeing with increasing frustration that he is largely unable to trump his mentor, Von Trier suggests delving into a method which both men hold in contempt-animation. To create what the boys deem a 'stupid cartoon' Leth finds himself in Austin, Texas and acquiring the assistance of a certain Bob Sabistan who's rotoscoping expertise was the visual lifeline of the Richard Linklater films 'Waking Life' and 'A Scanner Darkly'. The end product, meshing footage from the previous pieces as well as earlier works from Leth's oeuvre, is the best of the lot. A fluid, stream of conscious tone poem that takes on a life independent of its siblings, it also represents another one up on the scheming Von Trier. His final proclamation is to simply have Leth serve as narrator on a fifth variant that Von Trier himself will helm and not take credit for, like taking the concept of homage to the next level.

At the close of this sprawling experiment, I found myself enriched at having been witness to the act of two genuine artists taking their allegiance to cinema in a fresh and uncertain direction. How likely would it be to see some over priced golden boy from tinsletown taking on such a dare as this? Can one even fathom five retakes on, say, 'The Bucket List'? Pardon me whilst I swallow a bullet.

No, I am afraid this is the type of wild tactic best served by the film community's more genuine participants. Those few who hold no fear in regards to a reexamination of that which makes them tick. If one is to learn anything from the endeavor of these two Danish tricksters it is that the creative juices are sometimes heightened more by the starvation of ones resources then by being spoiled by all the conveniences that ass loads of money (supplanting talent) can buy.

So be not afraid to give 'The Five Obstructions' a run through your little at home viewing device, dear reader, you might just gain a deeper appreciation of the art of movie making. On the other hand, this could all just make you think I'm delusional and you'll merely be inspired to cleanse yourself with another run through of 'Knocked Up by the 40 Year Old Virgin'...or something. Maybe that's why I write for this rag and not Maxum (*sniffle*).

But if your feeling it, you can find out more online by going here;www.kochloberfilms.com

My name is Richard and I value your opinion, especially when it's administered to this address;www.killpeoplenamedrichard@yahoo.com

Oh, I also saw these........

AQUA TEEN HUNGER FORCE-COLON-MOVIE FILM FOR THEATERS.

Being the (mis)adventures of a shake, a meatball and an order of fries committing nonsense of the oddest sort while verily abusing the time-space continuum. There's also a diabolic exercise machine at large and a full stock of wacky supporting creations contributing copious word salad banter to the free form, uh, story. More aptly put, this is the 'Gummo' of the animated cinema. It may just make your brain bleed out the backside of your skull and on down your spine, it's that stupid. Featuring delightfully terrible opening song by Atlanta's metal darlings Mastodon. Bless 'em.

RESCUE DAWN.

Able craftsman Cristian Bale does the malnourishment thing once again as captured Vietnam era pilot Dieter Dengler in the prolific Werner Herzog's closest flirtation yet with mainstream crossover. Herzog's expansion of his 1997 documentary 'Little Dieter Needs to Fly' still works the emotions to fair degree as Dengler and fellow starving P.O.W.'s craft a plan to escape their deep jungle prison in Laos and trek to the potential safety of Thailand. Overall, a might slicker and more refined then the average Herzog piece, with a feel good coda that feels largely at odds with the extensive jungle sequences (all in keeping with the director's renowned 'voodoo of location' philosophy) where, thankfully, the film devotes most of its' length. Best advice, watch this first and next take in the documentary which features the entire scenario recanted to engrossing effect by the real life Dieter Dengler (who passed in early 2001). Potent stuff indeed.