I have to admit I completely missed the mini-release of Lars von Trier's "The Idiots" last year - I even missed the release of the video! But I spotted it on the shelf last night, looking for something spiky to tide me over Thanksgiving, and I have to admit - it really did the job! This may be von Trier's best film, one in which he pretty much sheds the ponderous sexual melodrama that marred "Breaking the Waves" and "Dancer in the Dark".
Of course, be warned - this is EURO independent cinema, not American, which means it has a GENUINE edge - it's hardcore, in more ways than one. If your idea of "edgy" or "dangerous" is "Being John Malkovich" or "Boys Don't Cry", then you should probably avoid the Dogma-driven "The Idiots", in which full-frontal nudity is de rigeur (and on-camera urination and sexual penetration occur as well).
But if you want a funny, dirty, smart, irritating, and even infuriating satire of both the bourgeoisie and the bohemians who oppose it, then "The Idiots" is for you. von Trier has assembled a furiously talented cast of unknowns to spin this tale of a Danish commune that pretends - to the horror of the middle class masses that surround it - to be a private institution for "retards" and "spastics".
"The Idiots" travel around town in their van, invading bourgeois precincts like restaurants and swimming pools, and then generally shaking things up; shedding all physical dignity, they begin drooling, picking their noses, disrobing, peeing, and messing with the personal space of the appalled citizenry.
This is alternately funny, disgusting, and angering - but where the film becomes great is in its dissection of the bohemian mini-society that's perpetrating the big hoax. Led by the bitterly charismatic Stoffer, the rag-tag bunch is populated by the usual sexual misfits, mainstream drop-outs and screwed-up idealists, who are in complete denial of the personal failures that are driving their participation in the collective. The resulting scenes are instantly recognizable to anyone (like me) who's spent lengths of time in Bohemia - the irrational drift of the group's politics, the silly, self-serious conversations, the bickerings and territorial squabbles - in short, the bourgeois life writ small, only with more sex. (And believe me, it's a lot to pay for only a little more sex.)
For me, the best scenes lay in the skewering of the group itself. The scene in which one group member returns to "real life", to attend a high-powered meeting at his advertising agency, only to discover his "client" is actually one of the group's own spastics, is priceless. This is then topped by a viciously hilarious sequence in which one young guy imposes himself on a group of scary, tattooed bikers, drooling and moaning away. The bikers unexpectedly show fellow feeling, decide he must have to pee, lead him to the john, pull down his pants, and even aim his penis into the urinal, all as the poor kid desperately tries to urinate and stay in character. I'm not sure I've EVER laughed so hard.
The movie ends on a typically uncompromising note. The most enigmatic (and most recent) member of "The Idiots" provides the biggest surprise. When the test of "going native" rolls around - Stoffer challenges his followers to take their life style back into the "real world" - Karen rises to the challenge, and returns to a family that we always half-assumed rejected her. Only it turns out that SHE rejected THEM - after the death of her baby son, she didn't even go to the funeral - she just opted out of the tragedy completely. The scene in which she returns to her grieving, stone-cold husband and relatives, and then begins to twitch and drool, is nothing short of unbelievable. We can see in their chill why she left them - but we can also see how horrifying her behavior is in the context of insurmountable personal grief. The movie ends with a slap and a departure - hopelessly, in a way. There's no compromise between these two worlds - even if both are at bottom broken.
(Btw, the video I saw actually had little black boxes blocking out the male - and sometimes the female - genitalia. Look for the scene in which the little black box gets longer - it's a hoot all by itself!)
Of course, be warned - this is EURO independent cinema, not American, which means it has a GENUINE edge - it's hardcore, in more ways than one. If your idea of "edgy" or "dangerous" is "Being John Malkovich" or "Boys Don't Cry", then you should probably avoid the Dogma-driven "The Idiots", in which full-frontal nudity is de rigeur (and on-camera urination and sexual penetration occur as well).
But if you want a funny, dirty, smart, irritating, and even infuriating satire of both the bourgeoisie and the bohemians who oppose it, then "The Idiots" is for you. von Trier has assembled a furiously talented cast of unknowns to spin this tale of a Danish commune that pretends - to the horror of the middle class masses that surround it - to be a private institution for "retards" and "spastics".
"The Idiots" travel around town in their van, invading bourgeois precincts like restaurants and swimming pools, and then generally shaking things up; shedding all physical dignity, they begin drooling, picking their noses, disrobing, peeing, and messing with the personal space of the appalled citizenry.
This is alternately funny, disgusting, and angering - but where the film becomes great is in its dissection of the bohemian mini-society that's perpetrating the big hoax. Led by the bitterly charismatic Stoffer, the rag-tag bunch is populated by the usual sexual misfits, mainstream drop-outs and screwed-up idealists, who are in complete denial of the personal failures that are driving their participation in the collective. The resulting scenes are instantly recognizable to anyone (like me) who's spent lengths of time in Bohemia - the irrational drift of the group's politics, the silly, self-serious conversations, the bickerings and territorial squabbles - in short, the bourgeois life writ small, only with more sex. (And believe me, it's a lot to pay for only a little more sex.)
For me, the best scenes lay in the skewering of the group itself. The scene in which one group member returns to "real life", to attend a high-powered meeting at his advertising agency, only to discover his "client" is actually one of the group's own spastics, is priceless. This is then topped by a viciously hilarious sequence in which one young guy imposes himself on a group of scary, tattooed bikers, drooling and moaning away. The bikers unexpectedly show fellow feeling, decide he must have to pee, lead him to the john, pull down his pants, and even aim his penis into the urinal, all as the poor kid desperately tries to urinate and stay in character. I'm not sure I've EVER laughed so hard.
The movie ends on a typically uncompromising note. The most enigmatic (and most recent) member of "The Idiots" provides the biggest surprise. When the test of "going native" rolls around - Stoffer challenges his followers to take their life style back into the "real world" - Karen rises to the challenge, and returns to a family that we always half-assumed rejected her. Only it turns out that SHE rejected THEM - after the death of her baby son, she didn't even go to the funeral - she just opted out of the tragedy completely. The scene in which she returns to her grieving, stone-cold husband and relatives, and then begins to twitch and drool, is nothing short of unbelievable. We can see in their chill why she left them - but we can also see how horrifying her behavior is in the context of insurmountable personal grief. The movie ends with a slap and a departure - hopelessly, in a way. There's no compromise between these two worlds - even if both are at bottom broken.
(Btw, the video I saw actually had little black boxes blocking out the male - and sometimes the female - genitalia. Look for the scene in which the little black box gets longer - it's a hoot all by itself!)