This is the sad tale of the township of Dogville (Dogville movie review)

This small town would be better defined as not-city because its structure seems to be built on the principle of negation. It reminds architectural plan, which – according to the logic of the absurd – was settled by people.  Dogville is devoid of traces of the past, as if it existed in timelessness. It’s not a debris, but a purely imaginary creation. Lars von Trier made it up to  tell the story of the birth of sadism.

‘Dogville’ is a construction that is perfect in its absurdity. Von Trier seems to be pretty extravagant. Not everyone would be crazy enough to draw the whole scenery with chalk. All characters represent specific types of characters (devotees, provincial intellectual, driver-simpleton, etc. The schematic is broken by their interiors desire for superiority. We are dealing with something that could be called the world before and after the birth of a sadistic demon. The conversion of the characters is perfectly presented by really great actors, who without unnecessary exaggeration , bitterly and emphatically tell stories about emotional marionettes that are sleeping in our insides , and  about oppressors that are lurking in the subconscious).

The whole movie is an artistic embodiment of the idea of evil. The director presents  evil that is hybridized. You can find it eerie, crippled characters. Grace (stunning Nicole Kidman) is the main character and the story develops around here.  Pandora (Tilde Lindgren), a small, ugly girl, is a complement to the progressive downfall. Even the narrator seems to be on the dark side. He is a guide of this microcosm that is sinking down. Not only reveals to us the successive circles of hell and tells what happens outside representation, but also seems to be responsible for the awakening of the demon.

Delicate, lovely Nicole Kidman amazingly plays the drama of her character. She manages to combine image of total humiliation with a surprisingly, almost infernal pride. Interestingly, the other actors don’t fade in her splendour. Jeremy Davies  absolutely enchantingly copes with the role of local twit, who hides in his, seemingly innocent, stupidity  a horny, brutal pig. Philip Baker Hall as Tom is the most uncomfortable, unbearable character. Actor  is using restrained, but at the same time extremely expressive gestures to drama of a man who could – (before having changed word order)  to repeat after Mephistopheles: I am part of that power which eternally wills good and eternally works evil. Siobhan Fallon Hogan as Martha (a God-fearing widow) is appalling.  The actress plays  naivety, uses  repertoire of gestures associated with old devotees, but she doesn’t ruin her character’s natural charm.  All actors simultaneously seduce and scare. It makes making von Trier’s dystopia not  ugky, bu uncomfortably attractive. Evil is sorely tempting.