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Two separate audio commentary tracks: one by writer-director Lars Von Trier, producer Vibeke Windeløv, technical supervisor Peter Hjorth, and the other by choreographer Vincent Paterson; two making-of documentaries: 100 Cameras: Capturing Lars Von Trier's Vision and Choreography: Creating Vincent Paterson's Dance Sequences; Selma's Music: song-by-song access; alternate scenes; original theatrical trailer; cast and crew filmographies
Full Product DetailsSpecial Features
0. Selma's Music.
0. Song Index
1. Overture [3:31]
2. Cvalda [4:08]
3. I've Seen It All [5:31]
4. Smith and Wesson/Scatterheart [7:07]
5. In the Musicals, Part 1 [1:59]
6. In the Musicals, Part 2 [3:26]
7. 107 Steps [2:33]
8. Next to Last Song [2:26]
9. New World (End Credits) [4:29]
Scene Selections.
0. Scene Selections.
1. Overture. [:15]
2. Washington State, 1964. [3:31]
3. Gene. [:02]
4. Movie Tin. [3:02]
5. Happy. [3:15]
6. Secrets. [4:50]
7. Daydreaming. [4:48]
8. Night Shift. [6:36]
9. Cvalda. [7:09]
10. Dark Walk Home. [6:04]
11. Stage Entrance. [4:08]
12. Let Go. [3:59]
13. I've Seen It All. [3:58]
14. Desperation. [4:01]
15. Smith and Wesson. [5:31]
16. $2,056.10. [10:35]
17. Rehearsal. [7:07]
18. In the Musicals, Part 1. [5:47]
19. Trial. [2:54]
20. In the Musicals, Part 2. [1:59]
21. Verdict. [8:35]
22. New Information. [3:26]
23. My Favorite Things. [4:21]
24. Deal. [3:14]
25. Jeff. [6:39]
26. Time. [3:49]
27. 107 Steps. [3:13]
28. On the Gallows. [4:03]
29. Next to Last Song. [2:33]
30. New World. [3:10]
It's hard to put a finger on exactly what Lars von Trier is doing in Dancer in the Dark. Is it a postmillennial paean to the social-realist musicals of industrial Russia? Is it a Douglas Sirk-esque melodrama posing as an anti-capital punishment tract (or vice versa)? Is it, like the films authored under the aegis of von Trier's Dogme 95, just a joke? The only thing for certain is that Dancer in the Dark is dramatically punishing, a film so mechanical and ruthless with its emotional fireworks that it inspires rage and tears in almost equal measures. Icelandic pop pixie Björk, with essentially no prior acting experience, portrays Selma, a single mother living in Washington State in the 1960s (rural Sweden, as the Pacific Northwest, gives an excellent performance). Suffering from a degenerative eye condition and nearly blind, Selma scrounges for money by working in a factory so her son, Gene, can undergo an operation to save his own eyesight. Selma is a terminally mousy figure -- small, myopic, and withdrawn -- whose only release is through music. In several extravaganzas, von Trier turns Björk into an Esther Williams of the woods, where she can belt out songs and frolic with utter abandon. In the real world, though, Selma finds her savings pilfered by her policeman-landlord (David Morse), and matters progress from very bad to much worse. This is not always an easy film to watch, but the performances are beyond gripping. Björk 's turn won the best actress trophy at Cannes, and Morse displays the quiet pathos that makes him one of America's most underrated actors. Von Trier's motives may be in question, but there is no doubting the result: an emotionally devastating examination of sacrifice. The slew of extras on the Dancer in the Dark DVD attest equally to Von Trier's thirst for freedom and his somewhat loony take on how to get it. In the featurette entitled 100 Cameras, he described the technique of using the alleged 100 Sony videocameras as an attempt to replicate "the transmission of a live event". The anatomy of calibrating all the cameras used during a few of Björk's tunes is fascinating, as is Von Trier when he states, "I have found that 100 cameras isn't enough. You'd need 1,000 [or] 10,000 cameras to really be free". While the director expounds on cinema that goes up to "11", the terrific extras help a viewer gauge just how close he comes. Pete Segall, Barnes & Noble
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