Not so much a movie as a prolonged argument about how hiearchies such as race and class always opress the powerless. I think the tragic flaw of Grace is that she practices a doctrine of liberal niceness when she should've agitated marxist dialectic (slave + ruler = revolution). Now, Grace tries to teach the slaves to be free, just replacing their old masters, instead of making them free themselves.
Sur un thème proche, Von Trier et Tarantino ont produit deux fables aussi brillantes que radicalement distinctes. Face a la disproportion fantasmatique et cathartique d'un Django, Manderlay pose une abstraction toute en ambiguïtés, bien davantage nourrie aux "post-colonial studies" (on pense à l’œuvre de Frantz Fanon par ex.). Le générique de fin est un sommet de noirceur sarcastique. Et ce film transpire le talent!
Ayant vénéré Dogville, j'avais un peu peur d'être déçue par cette suite (comme cela est souvent le cas). Et bien, pas du tout. Ce n'est pas une suite à proprement parler (pas les mêmes acteurs, pas de trop fortes références avec l'histoire de Dogville, ...). Par contre, on y retrouve ce mode de huis clos unique, cette extrême sobriété et ce regard sans fard sur la nature humaine. Presque aussi magistral que Dogville.
DOGVILLE sequel. VON TRIER is boring at times but one accepts long demonstrations for their strong conclusions. In Manderlay end credits, the images of racism on BOWIE's "Young Americans" are simply awesome! ==== Suite de Dogville. Parfois ennuyeux, VON TRIER, mais acceptons ses longues démonstrations pour ses conclusions fortes. En générique de fin, les images du racisme sur "Young Americans" de BOWIE, magistral!
Blunter and more concise in its point-making than its predecessor, and all the better for it. Von Trier isn't a filmmaker for whom subtlety has much use. A cinematic provocation that shows how much well-meaning "saviors" can hypocritically resemble what they fight against when it comes to imposing their own viewpoint.
Human being is fascism after all, not only when you make them a slaves, also when they choose to be slaves for the good of everybody, when they are not ready to the jungle outside so to let themselves free, when keep voting toward the system which takes power and managing their life, and no matter if they are white, black, jews or arabs, they are all slaves to hypocrisy and fascism, inside and from the outside.
In her own way, Brice Dallas Howard delivers a nice Grace: different from Nicole Kidman's, but still a fair and hopeful woman, caught up in an insidious situation, with a plot twist that I was not expecting. A nice follow-up to "Dogville", no doubt. I love Von Trier's minimal approach in terms of sets and scenarios in this yet-to-be-concluded trilogy about the USA.
Lars von Trier annoys me. I agree with Anthony Lane of The New Yorker wrote in a review for the film, "Von Trier is not so much a filmmaker as a misanthropic mesmerist, who uses movies to bend the viewer to his humorless will," I've watched Manderlay in full length only because Bryce Dallas Howard performance and unusual film set.