Film Review: Nymphomaniac

Lars von Trier’s Nymphomaniac is absorbing, amusing and though-provoking cinema. Behind the rodomontade of controversy, Nymphomaniac is an excellent film.

Seligman finds Joe injured on the streets as he returns to his apartment. Inviting her in to recuperate, self-confessed nymphomaniac Joe begins to tell Seligman her story…

Nymphomaniac Volume I and Volume II are engrossing films best viewed in quick succession. The narrative framing device allows for effective storytelling. Both the storyteller Joe and her listener Seligman are interesting characters. Both bring something compelling to proceedings.

Lars von Trier’s writing in Nymphomaniac is superb. The film works as a straightforward recollection of events. In this way, it is both entertaining and reflective. Notwithstanding, with the addition of other elements, von Trier’s film delivers more. Bringing religion, mythology and mathematics in to embellish the tale adds an extra layer of depth. The interruptions of Seligman (surely a reference to the psychologist rather than a coincidence) are both humorous and insightful.

Much has been made of the prurience of this film, stoked to a certain extent by Nymphomaniac‘s memorable marketing. Whilst the film is very explicit, it is not erotic. The draw here is how the story will unfold. Volume I departs with enough of a hook to reel viewers in for the second part.

Lars von Trier makes the most of nature, as he has done in previous films. Familiar preoccupations of the writer-director are also visible here, with no less potency. Direction is thoughtful, whilst references show a level of sophistication. The use of Rammstein in the film’s opening provides a blistering introduction.

Ultimately, Nymphomaniac is an unequivocally feminist piece. That it uses explicit imagery to tell its story does not negate from the importance or strength of overall message. To a certain extent, the film acts as a riposte to criticism of Antichrist.

Charlotte Gainsbourg is most believable as Joe, as is Stacy Martin as her younger counterpart. Stellan Skarsgård is excellent, whilst Christian Slater and Jamie Bell great. Uma Thurman delivers a star turn in a small role. Shia LaBeouf is less convincing with an erratic accent and hesitant performance.

The protagonists in the film are drawn so well that the shift in these characters is subtle and credible. When the cataclysmic finale arises it is paradoxically shocking and cogent.

Nymphomaniac certainly isn’t for everyone. Nevertheless, the film proves to be provocative and entertaining viewing.

Nymphomaniac Volume I and Volume II are being screened back to back in UK cinemas for one evening only, on Saturday 22nd February 2014.

Film Review: Love, Marilyn

‘We all lose our charms in the end’ sang Marilyn Monroe once upon a time. Marilyn herself never did, which accounts for much of the fascination that the star still holds.

Filmmaker Liz Garbus uses recently uncovered documents to paint a picture of Marilyn Monroe using the actress’ own words. A variety of actors and actresses convey the words of Marilyn from her letters and diaries. Other contributors include friends of the late actress and experts…

Liz Garbus’ documentary on Marilyn Monroe is a fascinating watch. There have been several other documentaries on the star. Garbus’ film differentiates itself from others due to the fact that the emphasis remains on Marilyn Monroe’s own words. As these documents have been recently discovered, the film offers something fresh.

Unlike other documentaries which have been concerned with conspiracies surrounding the actresses’ death or rumours about her private life, Love, Marilyn focuses on her feelings about different aspects of her life. Although the recollections of others do appear, the vast majority of the film concerns Marilyn’s own words.

Love, Marilyn feels less like a traditional documentary due to its style. There is no narrator, instead numerous Hollywood stars read from the diaries and letters of Marilyn and others. There is an array of actors and actresses, including Uma Thurman, Glenn Close and Viola Davis. The fact that different actresses  are used throughout to voice Marilyn rather than just one means that the actress is not imitated. Furthermore, the variety of contributors exhibits the effect Marilyn still has on contemporary Hollywood.

Love, Marilyn is essential viewing for those even with just a passing interest in Marilyn Monroe.

Love, Marilyn is being screened at the London Film Festival in October 2012.