The opening sequence introduces the film dramatically with an arrangement of scenes in ultra slow motion set to some startling orchestral music (Wagner’s Tristan und Isolde). Not being one for lengthy opening titles though, I didn’t enjoy them, in spite of how impressive they undoubtedly are. I just found myself waiting for the film to begin and, after a while, stopped noticing the pictures and just enjoyed the music (a highly emotive piece which is repeated frequently throughout the film). While there is the danger that it might be ignored by many, this prelude may have been better placed at the end of the film with the credits. I don’t mean to belittle it by saying that – after all there seems to be a fashion at the moment for impressive credits (Suckerpunch for example). I re-watched the opening scene after finishing the film and found it much more engaging than I had the previous two viewings. The visual links with scenes throughout the film are much clearer (obviously), something which is lost to you if you haven’t actually seen the film yet. This dramatic beginning is also at odds with the first scene of the film, which is bright and up-beat – possibly the only scene that is – so it doesn’t give us the smooth transition into the film that one would assume the role of most opening sequences is.
Smooth transitions don’t really seem to be how writer/director Lars von Trier works. The arrangement of the film into two sections seemed to completely separate the two themes running through this story. The first section follows Justine (Dunst) struggling to get through her wedding day with feelings of depression and apathy, and upsetting several people in the process. The second follows her sister Claire and her family as they follow the progress of Melancholia – a planet which is about to pass very close to Earth but, they hope, not actually collide with it. Melancholia is not mentioned in the first half, nor is the new husband mentioned in the second. They’re almost two films. Separate, but happening to have the same cast. The opening sequence for me really represents what is the best thing about this film – visual artistry. Storyline aside, the scenes are truly beautiful and I enjoyed that aspect greatly, particularly in the second half when we are shown some almost breathtaking images of the planet as it hurtles towards Earth.
I would recommend that no one watches this film if they’re in a good mood. You can’t relate to the depression felt by Justine if you’re feeling happy and content. It just leads to frustration with her when she fails to perform seemingly basic tasks (such as getting into a bath). Equally though, I would not recommend watching it if you’re feeling low. You still can’t sympathise fully (well I couldn’t) and you get annoyed with the insensitivity of the other characters. No matter what mood you’re in, you may well find it difficult engaging with any of the characters in this film.
Melancholia was brought to my attention largely because of its cast. I haven’t seen any of von Trier’s other work (though I do need to see Dogville) but the names Kirsten Dunst, John Hurt, and Kiefer Sutherland were enough to interest me. After some initial research however, my first instinct was to leave it be. Apocalypse films aren’t usually my thing and nothing in this one screamed out at me as particularly special. For whatever reason though I changed my mind and I almost wish I hadn’t. I didn’t enjoy it. The second half is more enjoyable than the first as it gains a sense of momentum, but really the only reason I persevered in finishing it after abandoning it twice was that I would have felt silly posting it back to Love Film without having watched it all. I also didn’t feel I could have a proper opinion on it based only on the first 45 minutes and I do so love having opinions.
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