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Summary: Manderlay is a plantation where a group of people are living as if slavery hadn't been abolished 70 years earlier. Upon leaving Dogville in 1933, Grace and her father head far south to the state of Alabama where they arrive upon the bizarre place.
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.
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.
like dogville, but rougher around the edges. the cast isn't as good, the visual style doesn't feel as polished, the ending wasn't as powerful. but this treatise on race, and in particular white man's burden, is nearly as pointed as the amazing first entry into this 2-film trilogy. which is a shame - the ending is obvious in its hint about the previously planned finale on washington. ah well. every feature by von trier, greatest director ever, has now been seen. well except images of liberation.
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.
A fascinating look at racism, slavery (both political and psychological), freedom and (the potential flaws of) idealism. It's a provocative piece of filmmaking, 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.
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.
von trier's shit-stirring goes a bit too far in this one, to the point where he really seems to lose sight of any thesis in exchange for "look how provocative i am!" on the plus side, bryce dallas howard is pretty good, if not as good as nicole kidman playing the same character
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.