Dancer in the Dark 2000 123movies

Watch: Dancer in the Dark 2000 123movies, Full Movie Online – In small-town Washington state in 1964, Czechoslovakian immigrant Selma Jezková and her preteen son Gene live in a rented trailer owned by Bill and Linda Houston; Bill is the town sheriff. Selma also has a small group of friends, including her co-worker and primary confidante Kathy, and Jeff, who wants to be her boyfriend. Jeff regularly waits outside Selma’s workplace to drive her home, although she always refuses, not wishing to lead him on. Her primary job is working on the Anderson Tool factory assembly line, but she does whatever else she can to earn money. What only Kathy knows among Selma’s friends is that she is slowly going blind from a genetic medical condition. She can see just enough to be able to do her job. Her primary reason for moving to the USA and working all the time is to earn enough money for an operation for Gene when he turns 13; he knows nothing about his mother’s or his own degenerative eyesight. Selma allows only one indulgence in her life: anything to do with musicals which she loves, because they’re an escape from her bleak life. Kathy often takes her to the cinema to watch old musicals and must describe to her what’s happening on the screen, to the other patrons’ annoyance. Selma also has the role of Maria in a community-theatre production of “The Sound of Music.” Close to having enough money for the operation, Selma races against time before she loses enough sight to lose her job and her role in the musical. What may also threaten Selma’s goal of the operation for Gene is some financial problems facing Bill, who feels pressured to provide Linda with the comforts of life to which she’s accustomed..
Plot: Selma, a Czech immigrant on the verge of blindness, struggles to make ends meet for herself and her son, who has inherited the same genetic disorder and will suffer the same fate without an expensive operation. When life gets too difficult, Selma learns to cope through her love of musicals, escaping life’s troubles – even if just for a moment – by dreaming up little numbers to the rhythmic beats of her surroundings.
Smart Tags: #singing #factory #czech_immigrant #tragedy #blindness #daydream #dancing #blind_protagonist #secret #reference_to_oldrich_novy #ends_with_quotation #female_protagonist #spontaneous_choreography #director_on_camera #surrealism #false_accusation #prison #visually_impaired_person #digital_film #betrayal #mother_son_relationship

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Ratings:

	7.9/10 Votes: 110,721
	69% | RottenTomatoes
	61/100 | MetaCritic
	N/A Votes: 1479 Popularity: 17.289 | TMDB

Reviews:

Possibly the most straightforwardly enjoyable Von Trier film
Dancer in the Dark is the optimum anti-musical. It juxtaposes the amateur aesthetic of the Dogme 95 movement against song numbers that are clearly color-corrected, shot with tripods, and otherwise more artificial than anything Dogme, centering around a sensational performance by Björk, as a Czechoslovakian immigrant who suffers for her altruism; a youthful innocence in the body of a tormented adult who enters the unrealistic world of movie musicals when she needs to flee. The music, naturally, is composed and sung almost entirely by her – and what music it is!

Though I have not yet seen all of them, Dancer in the Dark is very possibly the most genuinely good film from Danish provocateur Lars von Trier. While I admire or “appreciate” films like Antichrist and Melancholia for how they make me squirm and despair, it is easier to connect with the story and characters of Dancer in the Dark. Its unconventional choices in terms of style also make sense – mainly in regards to what I mentioned earlier about the overall “Dogme” look versus the production of the musical numbers – as opposed to those of Nymphomaniac, made at a point where Von Trier became too full of himself and did as he pleased.

My favorite creation of Von Trier’s is his cult classic mini-series Riget (or The Kingdom for you non-Scandinavians), which is strange in ways more genuine than “I wish to be artsy and different”. It is also the basis for Stephen King’s decidedly less fascinating 2006 remake Kingdom Hospital, but these are all stories for another day.

Today’s story is of Selma (Björk), a migrant in 1960’s Washington State, who saves every penny she can of her income to pay for her son’s operation, meant to rid him of the same illness that is presently turning her blind, a fact which she refuses to reveal. She lives on the property of an unhappy policeman (David Morse), is stalked by a local simpleton (Peter Stormare), and finds her only real friend within her colleague Kathy (Catherine Deneuve). Joel Grey also turns up as a fictionalized version of Oldrich Nový, one of Selma’s idols, and what would a Von Trier film be without Udo Kier – the Murray to his Wes?

As her sight worsens, Selma pays more and more attention to the noises around her – the clatter-crash-thump of the machines she operates and the trains that pass – and discovers music, prompting her to envision song-and-dance sequences that, as mentioned, are shot, coordinated and colored quite differently than everything else (though still oddly framed at times, as with one number that was filmed on/around a moving train, on which several cameras were mounted and cut between in real-time, more or less). This is consistent with the Björk of the real world; finding all sorts of wonderful little details within the mundane.

When I recommend Von Trier’s early work to friends, I often warn that his style takes some getting used to, and Dancer in the Dark will look unattractive to most. Another thing that possibly detracts would be Peter Stormare’s singing voice during the Oscar-nominated “I’ve Seen It All”, which was wisely replaced by that of Thom Yorke when Björk released her Selmasongs album. This was also the song that made Björk appear at the Oscars with that wonderful swan dress of hers, the most entertaining thing she’s done since attempting to explain her TV.

All Peters aside, the music is hauntingly strange and flawlessly performed. After I finally watched the film, as I was advised to do by the Sardonicast crew in preparation for their next episode, it stayed on my mind for days to come and Selmasongs dominated my Spotify queue. Björk is often classified as avant-garde, experimental and electronic, hence it is surprising I haven’t listened to the Icelandic treasure much yet.

Dancer in the Dark is outstandingly well-thought-out in just about every category; its song sequences make more sense than those of most musicals, the unconventional stylistic choices make more sense than those of many Von Trier films, and the songs are cleverly inspired by everyday noises. It’s a devastating tale of a selfless person (hence its inclusion in the Golden Heart trilogy) and the world she retreats into until, perhaps, she learns it wasn’t all hopeless.

Discussing Von Trier recently, I was told of how tiresome movies of misery and cruelty can be, especially when there is enough to go around in the real world. Dancer in the Dark is not cruel without purpose, arguably unlike the sulky Von Trier of today, and it does not end on an entirely pessimistic note. Even so, it might also make the case against the escapism you may find in a conventional, magical musical with a cheerful ending (not that every musical has this).

I like miserable movies, as they tend to be the most profound and challenging, but I like happy movies too, for surely obvious reasons. Dancer in the Dark, in a way, manages both.

Bjork in the Dark.
Dancer in the Dark (2000): Dir: Lars Von Triers / Cast: Bjork, David Morse, Catherine Deneuve, Peter Stormare, Joel Grey: Disturbing yet brilliant film about endurance through tragedy or one’s venture into uncertainty. Ultimately it deals with a woman threatened with blindness but her love for Hollywood musicals keeps her going. Pop diva Bjork stars as a single mother who works at a press factory and she has been stashing money away for an operation to prevent her from losing his sight. Her landlord is a cop who is having financial difficulties and steals her money. She confronts him but he forces her to kill him thus leading to a disturbing battle in court. Hardly pleasant but director Lars Von Triers brilliantly uses musicals to express emotion. Bjork delivers a powerful performance full of emotion as she goes through unfortunate lengths for the good of her son. David Morse is excellent as her landlord whose financial greed leads to his only real regard. Catherine Deneuve plays Bjork’s friend from the factory who races to ensure that Bjork receives positive news with regards to her son’s operation. Peter Stormare is another friend who supports her in this dire state. Joel Grey also appears, which is a staple for musicals, and seems to support what Bjork represents in her passion for musicals. Theme regards injustice and freedom as her mind takes flight in the joyous presence of song. Score: 8 / 10

Other Information:

Original Language en
Runtime 2 hr 20 min (140 min)
Budget 12800000
Revenue 40031879
Status Released
Rated R
Genre Crime, Drama, Musical
Director Lars von Trier
Writer Lars von Trier, Sjón
Actors Björk, Catherine Deneuve, David Morse
Country Denmark, Germany, Netherlands, Italy, United States, United Kingdom, France, Sweden, Finland, Iceland, Norway
Awards Nominated for 1 Oscar. 35 wins & 49 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, DTS
Aspect Ratio 2.35 : 1
Camera Sony DSR-1P (with custom anamorphic lenses), Sony DSR-PD100P (with custom anamorphic lenses), Sony DSR-PD150 (with custom anamorphic lenses), Sony DXC-D30WSP (with custom anamorphic lenses)
Laboratory N/A
Film Length (10 reels), 3,845 m (Sweden), 4,065 m (Spain)
Negative Format Video (PAL)
Cinematographic Process DVCAM (anamorphic)
Printed Film Format 35 mm (Fuji F-CP 3519D)