her revelatory work this year, Nicole Kidman in "Dogville." But upon second
thought I felt I had to honor the screenplay behind the performance -- one of the
most overtly political, philosophical, and layered scripts that's made it onto
screens since Bush II took office.
The reaction in my initial review was one of shock; I had called von Trier's piece
"one of the most anti-American films ever made." I hadn't meant it as an
insult, however, just a statement of genuine surprise that big-name talent like
Kidman, Lauren Bacall, and James Caan had signed on for such a vehemently
brilliant polemic.
Upon a repeat viewing, though, "Dogville" became so much more than a
well-timed critique of American xenophobia. It directly called out liberal guilt,
critics of society, critics of critics of society, isolationism, feminism, politicians,
and even pesky old suburban busybodiness. As concise as a three-hour movie
can be, "Dogville" was wrapped by von Trier in a bloody bow and presented to his
audience as if to say, "That's the way it is and you know I'm right."
Whether or not he is correct is a matter for debate (and the voting booth). What
is certain is that his film is bristling with ideas that rarely get mainstream
attention at the movie house, and should be thusly rewarded with a Best Original
Screenplay nomination to complement his vision. Not that he'd want it.
