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Kirsten Dunst looks straight into the camera. Her face is emotionless but her eyes belie a deep sense of despair. Dead birds fall from the sky in slow motion behind her. Odd as it is, this is just the first in a series of captivating visuals by Danish writer/director Lars von Trier (Dogville, Dancer in the Dark) in his depression-fueled, apocalyptic endeavor Melancholia.

At the start, von Trier makes it clear to the audience, through imagery made grandiose by music from Richard Wagner’s Prelude to Tristan und Isolde, that Earth will be destroyed in a collision with a massive rogue planet known as Melancholia. Leading up to this ultimate cataclysm we are introduced to two sisters—Justine (Dunst) and Claire (Charlotte Gainsbourg, 21 Grams)—who share a strained relationship.

In part one titled “Justine,” we are thrust into a nightmarish wedding reception as Justine free-falls into a depression after her divorced parents bicker nastily in front of guests. Claire, who had organized it all, is embarrassed by Justine’s actions, which include disappearing into a bathtub when the cake is supposed to be cut. Claire's husband John (Kiefer Sutherland), an astronomer, is mad because of all the money he has spent. Meanwhile the naïve groom (Alexander Skarsgård, True Blood) is devastated by it all.

In part two titled “Claire,” we watch Claire’s patience be stretched thin as depression overwhelms Justine’s ability to think, move, or even taste. Claire’s own stability walks a razor-thin tightrope, as Melancholia looms ever closer to Earth. She’s certain it will kill everyone as John tries to reassure her that it will pass by harmlessly. The two sisters’ roles gradually become reversed as it all leads up to a horrific, yet un-suspenseful climax.

Melancholia is an appropriate title since the film itself may leave you feeling a bit melancholy. Von Trier’s imagery is a character itself as it projects a sense of isolation and desperation. Although the pacing is languid, it is consistent throughout. His decision to show us Earth’s fate at the beginning of course negates any suspense that could have otherwise existed at the end. As such, we are left with the sometimes-melodramatic relationship between the sisters.

It’s seems silly, considering the fact that Dunst is now 29 years old, but with her role in Melancholia, Dunst seems to have finally spread her wings as a serious adult actress. Sure, she was nominated for her supporting work in Interview with a Vampire, but she was a child then. She successfully disappears into Justine by delivering a riveting performance. She exudes a deep emotional pain from every pore and every word. Her eyes alone communicate volumes, especially towards the “climax” as her character achieves peace through resignation.

The remaining supporting cast delivers adequate enough performances to provide Melancholia with a solid thespian underpinning. It’s nice to see Sutherland in a serious role that doesn’t require him to shoot a gun or save the world, and Gainsbourg is fairly memorable as the sister who collapses.

While its part-one storyline is a little weak, Melancholia is still a cinematic treat.

On a letter grade scale from “A” being excellent to “F” for failing Melancholia receives a B.

Melancholia is rated R and has a running time of 136 minutes.

Now showing through December 8 @ 

Tivoli Cinemas
Westport Manor Square
4050 Pennsylvania, KCMO
Visit www.tivolikc.com, or call 913-383-7756 for more information.

By Michael D. Smith

Indie Film Editor

Michael D. Smith earned a Bachelor of Arts in history at College of the Ozarks in Point Lookout, Missouri followed by a Master of Arts in history at the University of Missouri-Kansas City.

Inspired by such critics as Gene Siskel and Roger Ebert, Michael started reviewing films in 1992 for College of the Ozarks's student-run newspaper. After returning to the Kansas City area in 1994, he continued film reviewing by writing for the Cass County Democrat Missourian in Harrisonville.

In 2000 Michael joined Sun Publications in Overland Park, Kansas where he served as its film critic and Arts and Entertainment Editor. During his tenure there, he was also the film critic for the "Fine Arts Radio Hour" and "Celebrity Scoop" radio shows on KXTR. After leaving the Sun in late 2002, he became the A&E writer for the Olathe News in Olathe, Kansas. He also worked as a freelance writer for The Squire in Leawood, Showcase Publishing in Lake Ozark, Missouri and the Kansas City Star.

Michael is currently a member of the Kansas City Film Critics Circle, a professional film critic organization established in 1966 by the late Dr. James Loutzenhiser.

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