Lars von Trier’s 2000 film, Dancer in the Dark, is a cinematic experience that polarizes audiences. Winning the Palme d’Or at Cannes and the Best Actress award for Björk, it’s a movie that demands attention, even if that attention is divided between admiration and exasperation. Björk herself, the Icelandic musical icon, declared this would be her last acting role, a sentiment that perhaps mirrors the film’s own intense and emotionally draining nature. While some critics lauded her performance as elfin and spritelike, others found it to be more of an appearance than genuine acting, a raw display of emotion rather than a crafted portrayal. This division in opinion extends to the film itself, a work that can be seen as either a bold artistic statement or a flawed experiment. The metaphor of “dancing in the dark” aptly describes both Björk’s performance and, arguably, von Trier’s directorial approach.
Björk embodies Selma Ježková, a Czech immigrant in America facing progressive blindness. This affliction is not just her own burden; her son also suffers from the same genetic condition. Hope exists for her son: an operation before his thirteenth birthday could save his sight. Selma works tirelessly in a factory, diligently saving every penny towards this life-altering surgery. However, the world around Selma is far from benevolent. Hardship mounts as her savings are stolen, plunging her into a desperate struggle to reclaim what was lost. A confrontation ensues, leading to tragic consequences that land Selma not in just prison, but on death row.
This narrative trajectory leans heavily into melodrama, a characteristic that defines much of Dancer in the Dark. Yet, within this heightened reality, von Trier explores themes of sacrifice, poverty, and the harsh realities faced by vulnerable individuals. Selma’s escape from her bleak world comes through music. She possesses a unique ability to transform the mundane sounds of her factory environment – the clangs and rhythms of machinery – into rich musical landscapes. These internal soundscapes become the basis for the film’s musical numbers, featuring songs from Björk’s album Selmasongs. This blending of gritty realism and musical fantasy creates a jarring yet compelling dichotomy.
Von Trier’s directorial choices further contribute to the film’s controversial nature. He opted for a shaky, handheld camera style, creating a sense of raw immediacy, almost like documentary filmmaking. This aesthetic choice, while aiming for realism, can be disorienting for some viewers. Furthermore, the casting of predominantly European actors in American roles, and the attempt to recreate 1960s Pacific Northwest in Sweden, add layers of artificiality that clash with the intended realism. Even Catherine Deneuve, known for her elegance, is deliberately cast against type as a drab factory worker, a decision that, while perhaps intended to subvert expectations, can feel jarring.
Despite these stylistic and narrative choices that push the boundaries of cinematic convention, moments of genuine power emerge in Dancer in the Dark. The film draws comparisons to musicals like Meet Me in St. Louis and Dead Man Walking, creating a strange hybrid. Perhaps its most potent moments are found in its stark portrayal of Selma’s final journey. As she walks towards her execution, the film achieves a disturbing and poignant resonance. This climax, grounded in the stark reality of her impending death, forces a confrontation with the film’s heavy themes and Selma’s unwavering spirit.
Ultimately, Dancer in the Dark remains a challenging and unforgettable film. It is a verismo musical, an opera of social realism for the modern age, utilizing raw visuals and unconventional sound design. While the film’s melodrama and stylistic choices may alienate some, they also contribute to its unique and unsettling power. Whether viewed as a masterpiece or a misstep, Dancer in the Dark provokes a strong reaction, ensuring its place in cinematic history as a truly singular and “schizophrenic” work, as von Trier himself described it. It’s a film that continues to be debated and analyzed, a testament to its enduring, albeit controversial, impact.
