Freedom and democracy — that's our motto. From "Fahrenheit 9/11" to "Team America," Hollywood has taken jab after jab at the government for the war in Iraq, and the reaction has been mixed. Leave it to a foreigner to produce a film that accomplishes it in an entirely different way that not only avoids being callously frank, but also manages to tackle more issues without biting off more than it can chew.
In actuality, "Manderlay" has nothing to do with the war, at least not the current one. But a tale about an outsider who imposes freedom and democracy the way she deems right will strike a cord with viewers — and by no means is it coincidental. The second of Danish director Lars Von Trier's trilogy, "USA — Land of Opportunities," the set of films was inspired by the criticism Von Trier received for the anti-American slant of "Dancer in the Dark." The first installment was 2005's "Dogville," which introduced the trilogy's protagonist, Grace (originally played by Nicole Kidman, "Bewitched"), a young idealist who encounters different facets of American life during the '30s.
This time around, Kidman is gone and taking over the role of Grace is Bryce Dallas Howard, the young ingénue who received buckets of praise for her starring role in 2004's "The Village."
Aside from the leading lady, not much else has changed in the sequel. Returning actors like Lauren Bacall ("Birth), Chlo? Sevigny ("Broken Flowers") and Jeremy Davies ("Secretary") fill various supporting roles. John Hurt ("V for Vendetta") also returns providing the allegoric narration. And like "Dogville," it is a tale about the blemished underbelly of pure Americana — in essence, the anti-fairy tale.
It is this position opposite of fantasy that "Manderlay" strives for — bleak reality. Despite the film's powerful cast and its political theme, most people will focus primarily on its minimal set. Realism with a twist, it is filmed completely on a soundstage with the characters inhabiting a world that is almost completely imagined. Inspired by the televised theater of the '70s, painted lines on the floor depict walls and hand gestures imply opening doors. One could go on about how the sparse set and props evoke much more powerful performances (which is indeed true), but at its most basic level it operates to make the world of characters desolate and void-like — the perfect setting for Von Trier's disheartening parable.
The film opens with Grace, her father (Willem Dafoe, "Inside Man") and his team of gangsters having just left Dogville. Leaving the Rocky Mountains, the group heads south and makes a stop near Manderlay, an Alabaman plantation. When Grace discovers that slavery is still in existence despite its abolishment 70 years prior, she insists on fixing the situation. Although her father travels on, Grace stays behind to impose the ever-important ideals of democracy and freedom.
What unravels is a harsh tale that exposes the weaknesses inherent in the supposedly sacred foundation of American morals. Filled with flawed characters and disillusioned hope, the audience knows they are set up for heartache, but cannot help but hope for the best anyway.
As the set design suggests, "Manderlay" is the opposite of glitz and glam — just raw performances. Leading the way is Howard. Trying to fill Kidman's shoes is no easy task, but Howard executes it flawlessly. Her portrayal of Grace is not only up to snuff, but also arguably far better. She gives the character that genuine naíveté that only someone her age can. With it, the story's tragic downfall remains compelling from start to finish — an aspect that was lacking in the previous film.
Nonetheless, "Manderlay" will most likely be received in the exact same manner as "Dogville." Cinephiles will the laud it as visionary and add it to their list of favorites, while the rest of the world will quickly label it pretentious due to its one of a kind technique. This binary reception is a slightly more understandable response to "Dogville," as almost everything that is deemed radical is always of the "hate it or love it" persuasion.
But "Manderlay" should be viewed differently. After seeing its predecessor, the audience is no longer hung up on the abrasive visual style. If the cynic wants to call the style a gimmick, then do so, but there can be no argument that there is indeed more focus placed on the story, which this time around is far more commanding.
It is unfortunate that such artistic freedom will hinder the message behind "Manderlay." Like Gus van Sant's statement on high school shootings in "Elephant," a film that lacks conventional narrative, a large chunk of the general public will be put off immediately. However, those who do see and respect its vision will value Von Trier's take on American idealism.
Rating: 5 out of 5
