Breaking The Waves Chad'z rating: ** (out of 4 = fair) 1996, R, 159 minutes [2 hours, 39 minutes] [drama] starring: Emily Watson (Bess), Stellan Skarsgard (Jan), Katrin Cartlidge (Dodo), Adrian Rawlins (Dr. Richardson), written by Peter Asmussen, David Pirie, Lars von Trier, produced by Peter Aalbaek Jensen, Vibeke Windeloev, directed by Lars von Trier.
I like independent movies, but lately they have become such brutal depictions of humanity they're too emotionally exhausting to appreciate. "Breaking The Waves" is a good example of this. It certainly has an original premise, but the elements that make up this premise and tell the story are so strange it's hard to see as a thematic love story, but as an exploitation of its characters.
Basically, this is another story of true love, but it's forbidden love so that automatically makes it good - right? Here our lovers are the simple-minded Scottish girl Bess (Watson), and the huge-but-tender Danish oil rigger Jan (Skarsgard). The first hour does a fine job in establishing the passion they have for each other. But here is where the film's first and biggest flaw becomes evident: it mistakes horniness for love. Yes, you can tell Bess and Jan do love each other, but why not show how the two met and fell in love rather than showing them as newlyweds? Communication is the key to a good relationship but there are few scenes of interactive dialogue here, so you really have to wonder what their relationship is based on.
The first act also establishes the rigid religious society in which the story takes place. Bess loves God and the church as much as she knows how to, but she is somewhat mentally challenged, almost schizophrenic at times. She seems to have a split personality when she engages in conversations between herself and "God" (or what she thinks God would say). It's hard to tell just how seriously this is supposed to be taken considering Bess's mindset and the strict, orthodox community she has grown up in. The film should only use one of these extremes or the other, using both is trying way too hard to depict Bess as an innocent victim in a cruel, hypocritical world.
Eventually something happens in terms of plot when Jan goes away to work but is involved in a serious accident. Bess is devasted when she hears this, but is relieved because now she can be with him again despite the fact he may be paralyzed for life. Here is where the strange film starts to become rather twisted: Jan knows he'll never be able to experience physical love with Bess again, so he asks her to find someone else to do it with and pretend it's him and then to tell him about it, that way they can remember what it's like to love each other and that feeling of love is what will "save" Jan from dying.
Most religions say the physical act of love is the closest two people can get to each other and express their love, but the way it is symbolized here seems almost perverted. Bess believes she will be "honoring thy husband" by doing what he asked, and in turn, following God's word and sacrificing herself as Christ did for her. Now maybe I'm way off, but isn't adultery a sin? Considering the Amish-like society, I find it impossible to believe none of the characters realize this (especially Bess!). When Bess's sister Dodo (Cartlidge), and Jan's doctor, Dr. Richardson (Rawlins) learn of their plan they say it is wrong but not why or what basis it's wrong.
I'm not sure what von Trier is trying to say with this film. The story is told in such a way that the deal between Bess and Jan is neither condoned nor condemmed. This is supposed to be a character study to see just how far and how much a person would do if they really love someone. How can we appreciate Bess's feelings and the things she does if she can't really be held accountable for what she does? If there's any reason the film fails it's not because of the premise but because of the slow, boring, uninteresting storytelling.
What also kept me from enjoying the film was the production itself. The entire film was shot using a hand-held camera which wouldn't have been a problem if every shot hadn't been so close up. Every time the camera moves suddenly and/or quickly I became disoriented, sometimes nauesous. The film is also edited in a choppy manner with no smooth transition from shot to shot and scene to scene, even individual shots themselves are assembled poorly.
It's hard to see "Breaking The Waves" as a modern tale of "The Ultimate Love." You have to give it credit for the chances it takes, as it is a fine, offbeat character study if nothing else (the acting is superb - I'll have to admit it). Still, it puts the wrong characters in the wrong situations to attempt for a theme of grand proportions, and it really doesn't have the right to.
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e-mail: ChadPolenz@aol.com (C) 1997 Chad Polenz
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