When you hear the movie title "Dogville," you might think it's the great dog village in the sky where the like of Lassie, Benji and other cinematic pooches go when they pass on. Then again, maybe you'll guess that it's the answer to the question about where all of the dogs go once you've solved "who let the dogs out."
A less likely guess is a small town set in the past that progressively turns on a stranger after they've welcomed her into their midst. But that's exactly what occurs in writer/director Lars von Trier's bizarre, imaginative, intriguing and extremely long drama.
The film begins with an aerial view of the titular town that shows us the minimalist, one-location stage set that will serve as our locale for the next three hours. Accordingly, one is apt to wonder whether the innovative approach will wear out its welcome and become annoyingly redundant like the Baja Men's oft-repeated lyrics about those pooches.
In essence, the picture is much like a filmed stage play - of a low budget theatrical presentation with the set and props budget of around $100 - where the cast pretends to open and close doors, etc. that aren't physically present (although we hear the related sound).
In addition, the various "homes" and "buildings" don't have walls, but instead are identified by chalk outlines and wording on the floor that names the owner or purpose of the mostly non-existent structure. It's all very much like an old and simplistic "Twilight Zone" episode (the original "Star Trek" did something somewhat similar, although their buildings were more substantial) where the characters' world exists on a small, two-dimensional plan that otherwise resides in the middle of a visual vacuum.
The effect is unusual and somewhat unsettling to say the least, but it also threatens to turn into an annoying, 3-hour long gimmick. After all, von Trier ("Dancer in the Dark," "Breaking the Waves") is one of the filmmakers who's fond of the unconventional but ultra-simplistic moviemaking style known as Dogme 95. That's where nothing extraneous is added to the shooting or post-production process.
This isn't a true such offering of the sub-genre - the fabricated set, labels, sound effects, score and occasional storybook type voice over narration by John Hurt ("Hellboy," "Captain Corelli's Mandolin") make sure of that - but some of the trappings - handheld cameras and jump cuts for instance - are present.
While the film could have used a little - okay, a lot - of editing, the intriguing aspect and ultimate saving grace is that after a while, one is likely to mostly or at least temporarily forget about the unique and limited setting.
That's not necessarily due to the script as it's rather simple in nature and occasionally strains to fill the 180-some minute runtime. It's also somewhat akin to the morality tales that fueled the likes of "The Crucible" and "The Scarlet Letter" as we watch the tides turn and mob mentality break out in terms of how the main character is treated.
Like those efforts and the thematically similar "Our Town," this one is teaming with symbolism, from those sets (that allow interesting and troubling "see-thru" moments from time to time), various developments that occur and even character names (from Tom Edison to Achilles).
Accordingly, it works on various levels, including the foreign director's obvious indictment of American culture that accepts outsiders only to take advantage of and/or turn on them. There's no doubt it will serve as a thought-provoking experience that will likely polarize viewers and leave the rest uncertain about how they feel about it.
Nor is there any doubt that the filmmaker has assembled a terrific cast including the likes of Lauren Bacall ("My Fellow Americans," "The Mirror Has Two Faces"), James Caan ("Elf," "Mickey Blue Eyes"), Patricia Clarkson ("Miracle," "Pieces of April"), Ben Gazzara ("The Thomas Crown Affair," "Happiness") and more.
Some of the best performances and/or interesting characters come from the likes of Nicole Kidman ("Cold Mountain," "The Human Stain") as the subservient outsider, Paul Bettany ("Master and Commander," "A Beautiful Mind") as the Jimmy Stewart type town leader, and Stellan Skarsgärd ("City of Ghosts," "The Glass House") who plays the only townie who shows his and the town's true colors from the get-go.
While the ending will likely divide viewers as much or more than the rest of the film over its symbolic message, the film certainly gets kudos and earns some ratings points simply for being so daringly different. Yet, it's also a bit too bizarre, weird, unsettling and at least an hour too long for its own good.
Nevertheless, it's also a fascinating, creative and even mesmerizing experience. Although the overall film is uneven and decidedly less than perfect, it still managed to cast a hypnotic spell over me in subtle and even disturbing ways. Assuredly not for all viewers - especially those with little or no tolerance or patience for something completely different - "Dogville" is compelling and engaging enough to rate as a 6.5 out of 10.
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