Manderlay (2005)

Director:

Lars von Trier

Writer:

Lars von Trier (writer)

Release Date:

3 June 2005 (Denmark)

Genre:

Drama

Tagline:

A case of mistaken identity

Plot:

A story of slavery, set in the 1930s American South.

Plot Keywords:

Leg Spreading | Female Frontal Nudity | Melodrama | Art | Peasant

Awards:

1 win & 15 nominations

Cast

Bryce Dallas Howard	...	Grace Margaret Mulligan
Isaach De Bankolé	...	Timothy
Danny Glover	...	Wilhelm
Willem Dafoe	...	Grace's Father
Michaël Abiteboul	...	Thomas
Lauren Bacall	...	Mam
Jean-Marc Barr	...	Mr. Robinsson
Geoffrey Bateman	...	Bertie
Virgile Bramly	...	Edward
Ruben Brinkmann	...	Bingo (as Ruben Brinkman)
Doña Croll	...	Venus (as Dona Croll)
Jeremy Davies	...	Niels
Llewella Gideon	...	Victoria
Mona Hammond	...	Old Wilma
Ginny Holder	...	Elisabeth

Also Known As:

Manderlay (France) (Germany)

Runtime:

139 min

Country:

UK | France | Germany | Denmark | Sweden | Netherlands

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby Digital

Certification:

Philippines:R-18 | Brazil:16 | UK:15 | Portugal:M/16 | Germany:12 | Hong Kong:III | Sweden:11 | Canada:14A (Ontario) | Finland:K-15 | Czech Republic:15 | South Korea:18 | Australia:MA | Singapore:R21 | Switzerland:14 (canton of Vaud) | Switzerland:14 (canton of Geneva) | Hungary:16 | Netherlands:12 | Italy:VM14 | Japan:R-18

Filming Locations:

Denmark

Company:

Zentropa Entertainments

Trivia:

John C. Reilly was originally signed to play Dr. Hector but was replaced by Slovenian actor Zeljko Ivanek during production. A donkey was put to death while filming, and it was reported in US magazine Entertainment Weekly that this was what prompted Reilly to walk off the set, though he has never commented publicly on the incident or his exact reasons for leaving the film. The executive producer Peter Aalbæk Jensen told Swedish media that "people should not be upset - instead they should think about the situation of the Third World". Since the movie was filmed in Sweden, they followed Swedish law, which says that animals can be put to death in movie productions if a veterinarian is the one carrying out the killing. Director Lars von Trier later cut the scene from the film, which was attributed to protests from animal rights groups. Von Trier said that he didn't want to draw attention away from the content of the film.

Quotes:

[first lines]
Narrator: It was in the year of 1933, when Grace and her father were heading southward with their army of gangsters.

Movie Connections:

Featured in Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence (2007)

Soundtrack:

Young Americans

A Mighty Continuation...

A person may not have to see "Dogville" before they get to this film-- but it helps. Von Trier takes his time getting where he is going, laying tracks in plenty of directions, and if you are not familiar with his style and don't know that it will all end with a colossal crunch, you may feel bored or confused. Fear not, though-- this movie's climax and finish depend wholly on the build-up, and when they happen they are shattering. In a shorter movie with less nuance and fewer ideas presented, it would just be exploitation.

Critics who say that Lars von Trier is just grinding an axe and that his views on America are unwelcome and inaccurate are missing the larger point. So far the two movies of his new trilogy seem to be seething with questions, not preaching answers. The spectrum of perspectives and philosophies presented make these movies themselves as experimental as the moral quests of Tom in "Dogville" and Grace in "Manderlay". We get to share initial outrage, labor for a solution, and then despair in how easily it all falls apart once human weakness and natural disaster are factored in.

Adjusting to the change of casting takes a few moments, but then it just fits right in with the theatrical nature of these movies. Anyone who has seen a play performed with different casts knows that the two productions are weird cousins, and this can make actors shine in their individual gifts. I would have loved to see Nicole Kidman devour this role, but Howard's youth and vulnerability really add to the tenuous nature of her power over Manderlay and its dark secrets.

I think it's lucky that von Trier is not an American. If an American director showed these images of oppression and slavery, he'd be reviled even moreso, especially if he were white. Americans demand "sensitivity" from movies about real issues, and violence and humiliation are really only safe subjects in horror films and art cinema. Sometimes it takes an outsider to show you what you look like to the world and remind you of the work you have left to do. This movie feels distinctly American in its woe and in it's heartsickness at good deeds gone not unpunished. Isn't change impossible? Haven't we given it our best shot already? "Manderlay" agrees with us-- but urges us to keep trying.