Je li von Trier zajebant ili luđak, genij ili šarlatan? Tu nas zbunjuje, ali jedno je jasno - njegov odnos spram ženskog lika. I ne moram čak reći spram žene jer neću ići ni toliko daleko da govorim o njegovom odnosu spram glumica na setu i cijelog ženskog roda, ali njegov odnos spram ženskog lika je apsolutno jasan, tu nema dvojbe. On je opsjednut nekonvencionalnim ženskim likom, likom koji je u njegovim filmovima vječito sjeban! Isto tako žena je u njegovim filmovima uvijek u opasnosti te je uvijek prestravljena krivnjom!
Von Trierovi filmovi prepuni su dokaza za spomenute tvrdnje, počevši od "Antikrista" u kojem je varljiva Charlotte Gainsbourg koja glumi ženu poznatu samo kao "Ona", prisiljena podnijeti niz odvratnih iskušenja. Gainsbourg glumi ženu uništenu tugom nakon što je sinčić pao u smrt dok su se ona i njen muž psihoterapeut (Willem Dafoe) seksali. Muž predlaže oporavak odlaskom u kolibu u šumi koja se zove Eden, zamisli čuda, očigledan simbol rajskog vrta iz kojeg su Adam i Eva protjerani jer je kurva Eva probala jabuku. Međutim, stvari pođu po krivu. Razbješnjena njegovim mirnim, patronizirajućim načinom, ona ga napada komadom drveta, buši rupu u njegovoj nozi u koju umeće željeznu šipku i kači je za teški kotač. Onda dolazi njen red na tešku patnju. U najmučnijoj sceni u filmu, ona vrši čin genitalnog sakaćenja komadom škara. Konačno, muž je davi i pali njeno tijelo. Paljenje ženskog tijela? Još jedan simbol koji zvuči poznato? Zbog svojih boli Gainsbourg je proglašena najboljom glumicom te godine na Cannesu, iako bi Orden časti bio prikladnija nagrada. Usput budi rečeno i u "Antikristu" i u "Nimfomanki" ponavlja se gotovo identična scena u kojoj muško dijete stoji na prozoru i gleda u svoju smrt, dok vani pada snijeg, a majka mu isto vrijeme doživljav orgazam! Ne mislim da je ovo slučajno, nego dobar put ka uzorku. Iako u "Antikristu" dječak baš vidi roditelje kako se seksaju te odlazi u smrt, u "Nimfomanki" dječačić ne vidi sam čin i ne umire, ali je vrlo blizu tome da umre. U oba slučaja, pogotovo u "Antikristu" gdje majka vidi kako joj dijete pada u smrt, ona ne pokazuje osjećaj krivnje jer toliko uživa u seksu, dapače potpuno je neemotivna prema svom djetetu. Ova scena nije bezazlena. Ona nosi metaforu Freudove "primarne scene" u kojoj djeca po prvi puta vide svoje roditelje u seksualnom činu. Dijete u tom slučaju ne shvaća sam čin, u najmanju ruku vidi ga kao čin nasilja, čin koji za njega ostaje enigma te ga duboko potiskuje, makar isti izaziva i određeno seksualno uzbuđenje kod djeteta. Makar potisnut, svjedočenje ovom činu može uzrokovati traumu u psihoseksualnom razvoju djeteta. Iz ovog jedino mogu zaključiti, da mora da je seksualni život von Trierove majke prilično utjecao na njega ako ima potrebu osakatiti baš svaki glavni ženski lik u svakom svom filmu.
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Ali ovakav stav prema ženskom liku vidljiv je još od filma "Lomeći valove" ("Breaking the Waves" (1996) ) U filmu se mlada Bess koju tumači Emily Watson, pripadnica stroge religijske zajednice na izoliranom škotskom otoku, udaje za Jana, stranca koji radi na naftnoj platformi. Kad on teško strada, ona moli Svevišnjeg da ostane živ. Posve nepokretan, Jan traži od Bess da se podaje drugim muškarcima i priča mu o tome. Bess pristane, prestravljena krivnjom i uvjerena da će mu tom žrtvom spasiti život. Svojevoljno se degradira pred mnogobrojnim partnerima te na kraju skončava pretučena i izrezana od strane sadističkog mornara. Kao početni dio trilogije o »zlatnim (ženskim) srcima« film je izazvao brojna proturječja, snažne napade znatnog dijela feminističke kritike te optužbe za »sadističko iživljavanje nad psihički labilnom junakinjom«, čija je posvećenost voljenom muškarcu protumačena kao poželjan patrijarhalni model muškarcu ultimativno predane žene.
U kontroverznom mjuziklu "Plesačica u mraku" ("Dancer in the Dark" (2000) ), Björk je izbjegla teško fizičko unakaženje, ali svejedno kao Selma, siromašna češka doseljenica u Ameriku gotovo oslijepi, ubije čovjeka pomoću sefa i na kraju završi tako da je objese. Suvišno je reći kako je Bjork nakon filma izjavila kako je film imao teške emotivne posljedice na nju, kako je von Trier seksist i kako više neće raditi s njim. Često je citirana i njena tvrdnja kako von Trier treba glumice da uliju dušu u njegov film i onda im zavidi na tome i mrzi ih.
Nicole Kidman bila je sljedeća žrtva. U Dogville-u iz 2003., bježeći pred gangsterima, prekrasna Grace (Nicole Kidman) dolazi u izolirani gradić Dogville. Stanovnici i gradonačelnik joj pomažu da se sakrije. Iz zahvalnosti, Grace pristane raditi za njih. No kada se potraga približi Dogvilleu njegovi stanovnici zahtijevaju bolji dogovor i veću naknadu jer smatraju da im je zaštita Grace prevelik rizik. Pritom je tjeraju na svakakve vrste degradacije, konačno tjerajući je da nosi željezni ovratnik sa zvoncem i teretom kako bi se spriječio njen bijeg. Ona postaje bespomoćna žrtva seksualnih hirova nekoliko ljudi iz gradu.
"Ne mislim da sam mučio Nicole u Dogville-u, ali sjećam se da je rekla kako joj je bilo teško", nonšalantno je rekao von Trier u jednom intervju, iako su njih dvoje navodno imali burne rasprave na setu. Ovaj čovjek u stanju je i vrlo opušteno izjaviti rečenice poput: "Sigurno mogu biti zao, ali mnogi ljudi mogu biti zli, ako im se pruži prilika!"
Von Trier je preenigmatičan i prevješt da bi dao neke izravne odgovore na svoj rad, pogotovo onda kada su ga otvoreno pitali je li "Antikrist" mizoginičan. Tada je rekao da ne zna i kako se često pita što bi se desilo da jednostavno otvoreno kaže kako mrzi žene. Čini se kakvo više ništa ne mora reći, dovoljno nam je rekao svojim filmovima!
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Misogyny in opus of Lars von Trier part 2 - all the mutilated women in von Trier's films!
Is von Trier a showman or a madman, a genius or a charlatan? This confuses us, but one thing is clear - his relationship with the female character. I don't even have to use "the relationship with women" because I will not go so far as to speak about his relationship with the actresses on the set or with the entire female gender, but his relationship with the female character is absolutely clear, there is no doubt. He is obsessed with the unconventional female character, a character who is forever fucked up in his films! Also women in his films are always in danger and are always terrified with guilt!
Von Trier's films are full of evidence for these claims, starting with the "Antichrist" in which the beguiling Charlotte Gainsbourg, who plays a woman known only as "She" is forced to endure a series of gruesome ordeals. Gainsbourg plays a woman devastated with grief after her little boy fell to his death while she and her husband the psychotherapist ( Willem Dafoe ) had sex. The husband proposes recovery by going to a cabin in the woods called Eden, funny thing, an obvious symbol of the Garden of Eden, from which Adam and Eve were expelled since the whore Eve tasted the apple. However, things go wrong. Infuriated by his calm, patronizing way, she attacks him with a piece of wood, drills a hole in his leg into which she inserts a steel rod and hooks a heavy wheel to it. Then comes her turn for severe pain. In the most excruciating scene in the film, she performs an act of genital mutilation with a piece of scissors. Finally, the husband strangles her and burns her body. Burning of the female body? Another symbol that sounds familiar? Because of her pain Gainsbourg was named best actress at that year's Cannes Film Festival, although a Medal of Honor would be more appropriate. Furthermore, in the "Antichrist" and in the "Nymphomaniac" almost the same scene is repeated, in which a male child stands at the window looking into his death, while it's snowing outside, and his mother is having an orgasm at the same time! I do not think this is a coincidence, but a good way to a pattern. Although in the "Antichrist" the boy sees his parents having sex and goes out to his death, in the "Nymphomaniac" the boy doesn't see the act itself and doesn't die, but it is very close to his death. In both cases, particulary in the "Antichrist" where the mother sees her child falling to his death, yet shows no guilt because she enjoys sex so much, actually she is completely unemotive to her child. This scene is not harmless. It shows a Freudian metaphor of the "primary scene" where children see their parents in a sexual act for the first time. The child in this case, doesn't realizes the act, at the very least it sees it as the act of violence, an act which remains an enigma for it, and is deeply suppressed, even though the same causes specific sexual arousal in children too. Although suppressed, witnessing this act can cause trauma to the psychosexual development of the child. From this I can only conclude that the sex life of von Trier's mother rather influenced him if there is such a need to cripple every main female character in each of his films.
But this attitude towards the female character is even seen from the film "Breaking the Waves" from 1996. In the film, young Bess played by Emily Watson, a member of a strict religious community on an isolated Scottish island, marries Jan, a foreigner who works on an oil rig. When he is severely injured, she prays to the Almighty to keep him alive. Completely immobile, Jan asks Bess to commit herself to other men and tell him about it. Bess agrees, terrified with guilt and convinced that with this sacrifice she will save his life. Willingly she degrades herself to multiple partners and finally ends up beaten and cut by a sadistic sailors. As an initial part of the trilogy of "gold ( women's ) hearts", the movie had caused numerous contradictions, strong attacks of a substantial part of feminist criticism and accusations of "sadistic torture of mentally deranged heroine", whose dedication to his beloved man was interpreted as a desirable model of patriarchal man’s ultimately devoted wife.
In the controversial musical "Dancer in the Dark" from 2000., Björk avoided physical disfigurement, but still as Selma, a poor Czech immigrant in America, she nearly goes blind, kills a man using a safe deposit box and ends up being hanged. It is more than enough to say that after the film Bjork said that the film had a severe emotional effect on her, that von Trier is a sexist and that she no longer wants to work with him. She is often cited for her statement that von Trier needs actresses to pour their soul into his movies and then he envies them for it and hates them.
Nicole Kidman was the next victim. In Dogville from 2003. fleeing from gangsters, beautiful Grace (Nicole Kidman) comes into the isolated town of Dogville. Residents and the mayor help her to hide. Out of gratitude, Grace agrees to work for them. But when her pursuers approaches the town, the residents of Dogville demand a better deal and higher fee because they believe that the protection of Grace is too great a risk. They push her on all kinds of degradation, finally forcing her to wear an iron collar with a bell and cargo to prevent her escape. She becomes the helpless victim of sexual whims of a few people from the town.
"I do not think I tortured Nicole in Dogville-in, but I remember that she said it was hard", nonchalantly said von Trier in an interview, although the two of them reportedly had heated debates on set. This man is also capable and very relaxed saying sentences like: "Surely I can be mean, but many people can be mean, if given the chance!"
Von Trier is too enigmatic and too skillful to give any direct answer to his work, especially when asked openly whether the “Antichrist" was mysogynistic. Then he said he didn't know and that he often wonders what would happen if he just said he hates women. It seems that he doesn't have to say anything anymore, he told us enough with his films!
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