Manderlay

On race. And America. Don't believe what you read about this movie.

Once again LVT stacks the deck with an absurd situation that makes pretty much everyone look like an asshole. He opens up complex issues here, ones that are worth pondering. The scenario isn't TOO far-fetched and allows for some intriguing facets. However Lars provides no answers, nor anything resembling an answer. Instead he wraps it up with a few cheap shots at America. It's like he just can't help himself. Putting aside LVT's childish jabs, it's a pretty good movie.

Just not as good as Dogville

Manderlay has some of the hardest questions posed about racial inequality I've seen in a film. It's even more complex now as people try to find proper political correctness. The initial story is engaging with strong characterization, unpredictability, and a personal narration by Hurt. When the final act hits, hypocrisies and contradictions abound that hit at no right answers that can truly heal apartheid. Its controversial nihilism will generate thought and discussion about society as a cage.

A fascinating look at racism, slavery (both political and psychological), freedom and (the potential flaws of) idealism. It's a provocative piece of film-making, but is so explicit about its message and tries to cover so much that it can feel muddled at times (also it lacks the stylistic mastery of its superior prequel, Dogville). Still it really got me thinking and like Dogville it is manipulative in the best way making you reflect on the reactions it prompts from you early on in the film.

It doesn't pack the emotional punch that Dogville does. We go into it with a certain expectation. This diminishes the power of the turn near the end of the film, which was already pretty weak to begin with.

Widely damned, MANDERLAY is nearly as good as DOGVILLE--a bit less sprightly as cinema, but with a more challenging subject: the racial divide in American society. Von Trier satirizes white guilt, as the well-meaning Grace does not quite find her idealism rewarded. Bryce Dallas Howard, taking over the character, is right for this story; earnest, sympathetic, but just a bit overbearing. The rest of the cast is strong, and Von Trier's work--especially the powerful ending--is just as good as ever.

Thankfully Ron Howard's daughter was cast in the lead. We wouldn't want a professional actress or one who looked good or anything. Why would we want that?

Part two of Trier's trilogy that started with Dogville. An outstanding movie that isn't quite on the same level as Dogville though. Still one of the best movies I have ever seen.

Manderlay is one of the most dynamic films about race and change ever created.

Unlike Dogville's slow build-up to chaos, Manderlay simmers for about two hours, and then von Trier goes straight for the jugular. Not as polished as Dogville, but the conclusion is just as uncomfortable as Dogville's, even if the events leading to it aren't as compelling here.

A film that set out to examine racism in America and ended up projecting racism towards the audience.

As bad as Dogville.

I always really liked Dogville from the way it was set up on stage to the story and the cast. Manderlay does the same thing, but it's not quite as powerful as the first movie is. Plot-wise it had some interesting themes and I liked the conflict, but the ending made me feel disappointed in some ways. There's just not enough of an impact with the very last things that happen. Beautifully shot and arranged, it's still a good watch and a decent Lars von Trier -movie. Just nowhere near the original.

worth watching.

06.01.2021, Umraniye

Either a very clumsy white savior tale, or a very clumsy attempt criticism of the white savior tale. Either way a disappointment to the minimalist stage format, which does have some potential as seen in Dogville. Downright evil to swap out Kidman *and* tease Willem Dafoe only for him to disappear after 10 minutes.

Incredibly brave.

the movie made no room to choose a side. I hate it when there is no black and white. (dat made me thinking) damn.

This film is insane, horrifying, and unfortunately true. It reveal's the insanity of America's past and current social problems. No American director (of any race) would have the balls to make this film.(I got to get this out of my head; I don't think the majority of Americans would truly understand this film. Take this as you will.) I have been watching Lars's films throughout this year and I am thoroughly convinced he is the greatest film maker since Stanly Kubrick and the best alive.Maestro.

part two: where grace stops being eligible for the gangsters health insurance covered therapy plan (for it'd be to costly)

L. v Trier can make films in any genre, he is a master of concsious manipulation of styles, genres and reflexivity, here he says that in each historical reality we have a "setting", a "fiction" but fiction is never innocent, it tries to institutionalize itself like the black people and Grace, who beneath their morality always veil the will to power inscribed in their existences, but maybe this happens precisely because of our metaphyscial conditioning, maybe "fiction" is the solution.

Contains some really provocative and nauseating moments, but the whole thing is so unbelievably similar to Dogville that I can't but help but compare the two and, well, this is no Dogville. It's an interesting idea, but the delivery is limp and exhausting. Now I'm not so bummed that he's never finished this trilogy.

Like a retread of Dogville only it's far less effective and rarely transcends its simple provocation. The racial emphasis seems somewhat misguided, perhaps even misinformed, but there are a few memorable scenes that make it worth viewing, especially for Von Trier fans.

74.000

My reaction upon first hearing about this film turned out to be the same as my reaction to finally seeing the film -- why re-utilise Dogville's original style? This makes me wonder if I ever liked Dogville, since this played out like such an intellectual exercise, made all the more grating by the film's smooth, yet flat pacing, the very scripted dialogue, and John Hurt's snidely sarcastic narration (we got it the first time). This film doesn't have nothing to offer, but it's a chore.

Good film.

I generally admire Von Trier's courage, but making a movie about your prejudices about any other country than your own is pure bravado. The movie could not even come near to its predecessor from the acting/setting point of view. Actually the continuity between the movies is problematic, as Grace is a caricature of a liberal intellectual, which is not in line with her resolution to her ordeal in Dogville. Sometimes von Trier just tries too hard to be politically incorrect, it brings him down.

at one hand I kept feeling that whereas dogville was an amazing venture into a original way of story-telling with a subtle but extremely well-executed script, manderlay lacked the originality (for obvious reasons) and played in a different league with too obvious points being held high and not the same standards in terms of acting and overall quality to it. on the other hand I couldnt help but smiling at the brilliance of von trier while the ending credits were rolling.

Escrevi sobre ele no caderno.

Perhaps the saddest thing about Manderlay is how poorly von Trier treats his actors, who are so bludgeoned by the concept and the format they can scarcely breathe.

was lacking nicole kidman.

Too long

Not a classic from von Trier, but not terrible either. Although not living up to the previous dogville, it has a certain charm. You certainly feel von Trier is trying to get a message across, but quite what that is, I'm not sure I know. It is thought provoking, and a lot easier to watch (in terms of turn-your-head-away violence) than some of his offerings, but doesn't pack the punch that I've come to expect.

This film is torture. Contemptuous and contemptible.

The often overlooked but in some respects superior sequel to Dogville. Whether it be Dafoe's smarmy gangster, or the sort of whiny liberal arts student Grace played by Howard this second part of the America Trilogy is an effective jab at the darker elements of white guilt and bourgeois liberalism. A film that maybe hit a bit too close to home for some critics is still wonderfully resonant in light of films like The Help.

Although "Manderlay" never reaches the emotional highs of "Dogville", its carefully structured narrative, well-written dialogue, thematic intrigue and moral implications make it a highly compelling watch. Howard doesn't match Kidman's nuance, but she's a solid substitute. The overall product, however, is hampered by the underwhelming ending, which, unlike the monumental finale of "Dogville", is emotionally muted and marks an obvious attempt to underline the message clearly implied by that point.

The style and acting are good, but it is totally fascistic.

"Alabama, 1933-during which time Von Trier uses the existence of slavery 70 years after its abolition as a metaphor for America's ongoing treatment of its black underclassman." - Ed Gonzalez

This didn't seem quite as much as an ordeal to watch as Dogville, as I was prepared for the wordy narrative and sparse sets. Hardly enjoyable but it gets you thinking.

I liked this one more than Dogville.

Improves from Dogville in just about everything. Pacing is now tolerable due to a shorter runtime.

Good Movie

A misstep coming down from "Dogville" but still potent and sprightly funny. Bryce Howard is no Nicole.

Obviously not close to "Dogville" (Kidman is out of the picture, and the novelty of the Brechtian approach is now long-gone), but still a complex, difficult film that is unafraid to pose questions about democracy.

Bryce Dallas Howard really sucks. This movie was okay, though. Danny Glover helped.

Felt like an episode of the Twilight Zone.

Freedom is relative.

I would rather let a mule take a dump down my throat than watch this heinous train wreck again. Boring, idiotically written with nothing resembling a real emotion evoked at any point, awkwardly staged, acted, and shot, boring, poorly made with little to no craftsmanship or production value, meandering, boring, long, bloated, and I must again say boring. Fuck this movie, fuck Lars von Trier. I hated it. The longest 139 minutes of my fucking life.