THE KINGDOM (REGIT)
A film review by James Berardinelli
Copyright 1997 James Berardinelli
RATING (0 TO 10): 6.5 Alternative Scale: **1/2 out of ****
Denmark, 1994 U.S. Release Date: widely variable Running Length: 4:40 MPAA Classification: No MPAA Rating (Mature themes, gore, violence) Theatrical Aspect Ratio: 1.33:1
Cast: Ernst-Hugo Jaeregaard, Kirsten Rolffes, Soeren Pilmark, Baard Owe, Ghita Noerby, Birgitte Raabjerg, Jens Okking, Peter Mygind, Otto Brandenburg, Udo Kier Directors: Lars von Trier and Morten Arnfred Producers: Sven Abrahamsen, Philippe Bober, Peter Aalbaek Jensen, Ole Reim, Ib Tardini Screenplay: Lars von Trier, Thomas Gislason, Niels Voersel Cinematography: Eric Kress Music: Joachim Holbek U.S. Distributor: October Films Subtitled
Ask Lars von Trier what his favorite line from Shakespeare is and he might respond, "There's something rotten in the state of Denmark." At least, that's the impression you'd get from watching THE KINGDOM, von Trier's ambitious project about the strange goings-on inside Copenhagen's National State Hospital (a.k.a. "The Kingdom"). Originally devised as a 4-part mini-series for Danish television, THE KINGDOM received limited theatrical distribution in the United States courtesy of October Films. Since these are only the first four episodes of a planned thirteen, there are a significant number of loose ends and unresolved plot threads. Although THE KINGDOM has a climax of sorts, it doesn't have a conclusion, and that can be extremely frustrating for anyone who has invested more than four and one-half hours viewing this film.
I don't know whether von Trier ever watched David Lynch's TWIN PEAKS, but THE KINGDOM is so like Lynch's outlandish television series that it can't just be a coincidence. Both tales start out with a series of slightly offbeat characters stuck in a seemingly-ordinary situation, then things are gradually twisted until we're watching men and women struggling to cope with a surreal existence where the supernatural reigns. And, as was the case with TWIN PEAKS, THE KINGDOM grows progressively less compelling as circumstances become more removed from reality.
If nothing else, von Trier shows a lot of inventiveness in fashioning a watchable story from so many diverse elements. And there is something in THE KINGDOM that keeps you watching, even though it seems to go on forever. Many have described this film as addictive, but, while I disagree with that diagnosis, I sat through the whole thing because I was interested to see how all the subplots would be wrapped up. Ultimately, however, nothing is concluded, and there's no guarantee that if/when von Trier films the rest of the series that those of us outside of Europe will have a chance to see it.
Most of the first part of THE KINGDOM is devoted to introducing the large cast of characters. There are three leads: Hyper-egotistical Swedish neurosurgeon Stig Helmer (Ernst-Hugo Jaeregaard), junior doctor Jorgen Hook (Soeren Pilmark), and an elderly hypochondriac, Mrs. Drusse (Kirsten Rolffes), who spends most of the movie chasing the ghosts that are haunting the hospital. When THE KINGDOM begins, Helmer and Hook are at loggerheads, and the situation only worsens as time goes by. Helmer botches the surgery of a child and has his girlfriend, Rigmor (Ghita Noerby), cover up for him. Suspecting malpractice, Hook is out for blood. Meanwhile, after Helmer discharges her, Mrs. Drusse manages to be re-admitted so that she can continue to search for the spirit of a little girl named Mary.
Other characters include the flaky chief of staff, Moesgaard (Holger Huul Hansen), who becomes the target of Helmer's ire; an attractive young doctor, Judith (Birgitte Raabjerg), who is pregnant with a fetus that's growing at an alarming rate; a pathologist (Baard Owe) who transplants a diseased liver into himself; a medical student (Peter Mygind) who uses a severed head to woo his true love; and a pair of Down's Syndrome workers who function as a Greek chorus.
The best elements of THE KINGDOM are those that drip with acid satire. Von Trier isn't afraid to lampoon anything, from the medical profession to spiritualists and the state of cultural relations between Denmark and Sweden. At times, THE KINGDOM is blisteringly funny. There are scenes when Helmer climbs to the roof of the hospital, gazes longingly at his native country, then calls out the names of famous Swedes like Bjorn Borg before railing at the "Danish scum" that surround him. There's also a wonderfully funny bit where various characters try to sneak into the ultra-secure archives to pilfer documents.
THE KINGDOM is also a ghost story, but that element doesn't work as well. For the most part, I found the character of Mrs. Drusse to be a tiresome busybody involved in a series of plodding investigations. The more THE KINGDOM turns towards ghosts, zombies, and the supernatural, the less inventive it becomes. This is well-trodden ground, and von Trier isn't adding anything new.
One aspect where THE KINGDOM never falters is in its style of presentation. Using tricks that he would later enhance and perfect for BREAKING THE WAVES, von Trier makes an artistic statement through THE KINGDOM's visual appearance. By using a film-to-video-to-film procedure, he gives the movie a washed-out, cinema verite look. Handheld camera shots abound, and there are numerous scenes when some sort of ruddy filter distorts and darkens the film's already muted colors. THE KINGDOM's look may not be polished, but it is interesting.
Another aspect that stands out is the high caliber of acting. The strongest portrayal belongs to Ernst-Hugo Jaeregaard, whose stuck-up Helmer is a joy to watch. When he's on screen, Jaeregaard grabs our attention, irrespective of whether his character is sitting at a board meeting, operating, or yelling "Danish scum!" into the night air. Although no one else in the cast manages to rise to Jaeregaard's level, the production is blessed with a flock of solid performances.
I should note that, stylistic issues aside, THE KINGDOM is very unlike either of von Trier's two internationally-known films, ZENTROPA and BREAKING THE WAVES. Since it was made for television, THE KINGDOM is faster paced than either, and, because of the emphasis on plot, psychological character development is limited. There's no one in THE KINGDOM who rivals the leads of BREAKING THE WAVES for multidimensionality, and the storyline isn't as intense or difficult. Beneath all the strangeness, THE KINGDOM isn't especially deep, proving that length does not necessarily correlate with depth.
Since its 1994 release, THE KINGDOM has spawned a cult-like following, which was only to be expected considering its unusual material and style. This is the kind of motion picture that leaves mainstream audiences shaking their heads. Still, as much as I generally enjoy offbeat fare, I found myself strangely dissatisfied with THE KINGDOM. The ultimate payoff doesn't seem to justify the time invested. Von Trier's production has its share of high points, to be sure -- it's just a question of whether there are enough.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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