 A FilmExposed Film Review |
 Dir: LARS VON TRIER, 2008, Denmark/Sweden/Iceland/Italy/France/Norway/Finland/Germany, 99 mins, Danish/Icelandic/Russian with subtitles
Cast: Jens Albinus, Peter Gantzler, Iben Hjejle
In what is easily his most accessible film to date in The Boss of It All VON TRIER ditches the visual and stylistic ticks that have perplexed audiences over the years, particular with last two outings Dogville (2003) and MANDERLAY (2005). Returning to his native Denmark with a much more traditional approach, this good natured effort serves as a reminder of the director’s playful take on dialogue driven comedy. Recalling hints of the dark humour and subtle characterisation that made 1994’s TV series The Kingdom so successful, the movie is sharp, well paced and features some great performances.
Following the cash strapped owner of a failing IT firm who has invented a fictional boss to blame for his own shortcomings, The Boss of It All is classic farce. When an Icelandic company led by a bellowing Viking with a dislike for Danes makes an approach to buy him out, Ravn (Gantzler) is forced to hire an actor to play the non-existent boss in order to carry out the business dealings. Things get complicated, however, when the befuddled actor (Albinus, making the most of a fantastically surreal role) starts to enjoy playing the boss a bit too much and feels responsible for the fate of the company and its employees. It is this moral tone that sets the film apart. Although Ravn’s incompetent nature and dubious ethics are played largely for laughs, there is a genuine concern for the outcome of the workers at play here. The human aspect beneath the farce is realised beautifully by the supporting cast of assorted losers and social inadaquates.
Although seemingly a fairly simple concept based comedy, the film’s maker is of course the same Von Trier who co-founded the infamously provocative Dogme95 movement whose strict rules for independent filmmaking simultaneously delighted and bemused. Nothing could ever be described as straight forward with him. As is his wont, he pops up to comment intermittently throughout the film, the first of which sees him dismissing the film as ‘harmless comedy’ and ‘not worth a moment’s reflection’ in typically tongue in cheek fashion.
Far be it from anyone to disagree with the great man, but it could be suggested that there is a lot more to it than that. Much has been made of Von Trier’s ‘Automavision’ process which has done away with the necessity of handheld cameras and altered control of framing a picture from human to computer. As he himself freely admits 70% of an audience won’t be aware of the difference and alongside his recently released ‘statement of revitality’ (explaining his need to rediscover his enthusiasm for film) it can come off across as a typical Von Trier experiment in hype.
As a comedy exploring the intricacies and absurdities of the modern office while retaining a classic theatrical feel The Boss of It All is a resounding success. It further cements Von Trier’s reputation as a gifted filmmaker with the ability to reinvent himself with intelligence and wit. |
