Lars Von Trier an Melancholia
2012; Issue: 86 Linguagem: Inglês
ISSN
2562-2528
Autores Tópico(s)Utopian, Dystopian, and Speculative Fiction
ResumoMelancholia has been referred to in reviews as a science fiction or as a disaster film. While either of these generic designations is applicable, it could also be categorized as a family melodrama. The film is centred on a dysfunctional family who, in addition to their familial problems, are facing the possible extinction of the planet. Earth is in danger of being hit by Melancholia, a rogue planet. The film is divided into three sections: Overture, Part One Justine, Part Two Claire. The Overture consists of surrealist imagery that involves Justine/Kirsten Dunst, Claire/Charlotte Gainsbourg and her young son Leo/Cameron Spurr. These elegant and often slow motion shots are beautiful and disturbing and set the tone of the film. As the narrative proper unfolds, some of the images reappear, particularly in Part II. (1) Von Trier's Overture is accompanied by the overture to Wagner's Tristan and Isolde (it reappears as the film progresses) which gives the images an elegiac context. For instance, the Overture contains an overhead shot of Dunst wearing a wedding dress and holding a bridal bouquet as she floats in water, surrounded by greenery; the shot and others connect her to nature and death and reinforce the feel of a decadent 19th century Romanticism. Justine Part One opens with the newlywed Justine and her husband, Michael/Alexander Skarsgard, in a white stretch limousine that is too big for the narrow and winding driveway leading to John/Kiefer Sutherland and Claire's mansion. The discrepancy between the vehicle and the driveway produces a comical scene that involves both Michael and Justine taking over from the chauffeur, and navigating the car through its impasse. This scene seems to be setting the tone for the narrative to follow; but, on arriving at the house, the tone becomes less relaxed. Justine is met by Claire who is angry that she and Michael are two hours late with the guests still waiting for the reception to begin. Claire raises the issue of the expense of the wedding and Justine's rudeness. In the sequences to follow, Justine's identity is reflected in her responses to her family, her employer and her husband, Early on, Claire tells Justine that she doesn't want any scenes tonight and that she mustn't further spoil the evening. Justine has already indicated her rejection of the pomposity of the event by demanding that, before partaking in the reception, she must take Michael to the stable and introduce him to her horse Abraham. The film offers no information on their decision to marry and what follows reveals that Justine isn't committed o Michael and that they have nothing in common. The Justine section is approximately an hour in length and becomes progressively chaotic. The reception officially begins with the best man, Jack/Stellan Skarsgard, introducing himself as Justine's employer and Michael's best friend. He says that he is promoting Justine from copywriter to art director of his advertising agency as a wedding present. He also says that he is presently waiting for her to produce a tagline for the blown up image that is behind him. Jack, dropping his self-serving concerns, introduces Justine's father, Dexter/John Hurt, who is asked to speak. Dexter treats the occasion whimsically, but includes a testy reference to his ex-wife Gaby/Charlotte Rumpling; she, in turn, takes the floor to angrily denounce him, the institution of marriage and the entire evening. Justine's unease is evident and, soon after, she excuses herself from the festivities. She goes outside, gets on a golf cart and drives to one of the eighteen courses on the estate (the source of John's income) where she stops, gets off the cart, hunches down on the ground and stares at the stars in the sky. She looks intently at the sky and begins to urinate. At this point in the narrative, her behaviour isn't explained; but the incident can be read as another instance of Justine acting out her hostility towards the bourgeois rituals of the evening, It also indicates her priorities are elsewhere. …
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