Festen (The Celebration)
February 4th 2009 01:21
Festen (1998, The Celebration) was the first feature produced under the controversial, but widely heralded manifesto known as Dogme95; a Danish creative initiative co-founded by filmmakers Lars Von Trier and Thomas Vinterberg. The basic concept was thus; under a “Vow of Chastity” the director of each movie had to comply to series of strict rules and restrictions in order to liberate the filmmaking process and thus achieve a kind of pure cinema – to be precise, to steer as far away as possible from the Hollywood school of filmmaking where, as the director of the fourth Dogme film Mifune explained “a director can be raped by technology … be tyrannised by all the expensive gear”.
The Dogme95 "Vow of Chastity" states that shooting must be done on location, no props can be brought to location, the only sound used must be heard on location (music can only be used if it occurs naturally within a scene), only available light can be used, the camera must be handheld at all times, the film must be in colour, the story must take place in the here and now, no superficial action is allowed (ie murder), genre movies are not accepted, the final format must be Academy ratio 35mm, and the director can not be credited. And finally the director must agree to the following statement: “Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a "work", as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.”
Thomas Vinterberg based the screenplay of Festen on a story he heard on Danish radio where an anonymous called recounted a shocking incident at his step-father’s 60th birthday involving a disclosure of sexual abuse within the family. As it turned out the story had been fabricated. Vinterberg incorporated this element of truth and lies blurring together into the movie.
A very wealthy Danish patriarch, Helge (Henning Mortizen) is celebrating his 60th birthday at the family mansion. Along with the waiting and kitchen staff, dozens of guests and his wife Else (Birthe Neumann) his three adult children have arrived; broody Christian (Ulrich Thomsen), emotional Helene (Paprika Steen), and volatile Michael (Thomas Bo Larsen). A fourth sibling, Linda (Lene Laub Oksen), is noticeably absent: she recently committed suicide.
As the festivities get under way Helene discovers a suicide note from Linda which upsets her terribly. She stashes it away refusing to let it ruin the party. Michael has brought his wife Mette (Helle Dolleris) and three kids, but has to fend off one of the waitresses, Michelle (Therese Ghan), who demands an explanation as to him ignoring her. Handsome Christian, on the other hand, doesn’t mind the affection of waitress Pia (Trine Dyrholm), but remains pre-occupied with something troubling.
It is during dinner that Christian decides it is time to deliver his speech. He offers Helge a choice between his yellow speech and green speech. Green it is. And it’s a doozy: he accuses his father of sexually abusing Linda and himself as children, and that Linda’s suicide is essentially a murder. Christian is reprimanded by Michael and Helge, but he returns to the disturbing subject matter again. The situation gets out of hand, and the false sense of aristocratic security is irreparably damaged.
Festen is essentially a melodrama played out mostly in real time (the entire action takes place from late afternoon through to the following morning). But it is a dark and irksome drama spiked with a delicate sense of black humour. One could describe it as a domestic satire; a savage comedy of errors … a familial nightmare of dysfunction.
There’s a slight supernatural element in the form of the ghost of Linda, who “visits” Christian in a dream-like sequence (and again during Christian’s forest banishing and alternative ending both of which are included among the DVD’s deleted scenes). Their relationship is a curious one, and not just that they are twins. While moderen Else remains stoic, Michael becomes increasingly angry with Christian for ruining the celebration. Helene’s black boyfriend Gbatokai (Gbatokai Dakinah) arrive, much to the racist indignation of Michael, and more disturbingly, the rest of the guests, who launch into racist sing-song later in the piece as the alcohol begins to take drastic hold.
There’ll be tears before bedtime as the party’s rigid infrastructure begins to collapse. This is one celebration where the real revelations are by no means the birthday gifts. Helge needs to be made accountable, but it won’t be in any conventional way. The festivities must go on!!
Apart from the spectacular performances from the entire cast, what shines forth from the potent punch that is Festen is Thomas Vinterberg’s visual narrative. The camerawork from cinematographer (that title can only be used most tenuously) Anthony Dod Mantle is utterly brilliant. One could argue that frequently it seems to breach the Dogme rules, in that many of the set-ups appear “artistic”, but at the same time, they serve the dramatic action so succinctly you have to marvel at the ingenuity.
Shooting with only available light means as the daylight disintegrates and practical lights within the household take over the quality of the picture deteriorates as well. Of course, this only serves as a beautiful visual metaphor for the trajectory of the movie’s narrative.
There have been hundreds of Dogme films produced worldwide since Festen (although after scrolling through the filmography on the official Dogme site it appears a vast number of these “entries” are fake, many of which have rather disconcerting titles), and although I’ve only seen a few, it’s apparent The Celebration is considered the best (Lars von Trier’s Breaking The Waves is sometimes confused as one as it uses many Dogme techniques, but it breaches too many of the manifesto’s rules to be officially titled a Dogme film).
Forget Hollywood’s whining, contrived domestic dramas, Festen is the tainted celebration you should be toasting, it’s essential viewing for anyone remotely interested in unforced dramatics and the “art” of filmmaking.
Ironically the only subbed trailer I could find is the American "Hollywood" trailer:
Here's the Danish trailer (sorry, no subs, but the vibe is clear):
Festen DVD is courtesy of Umbrella Entertainment, many thanks!
The Dogme95 "Vow of Chastity" states that shooting must be done on location, no props can be brought to location, the only sound used must be heard on location (music can only be used if it occurs naturally within a scene), only available light can be used, the camera must be handheld at all times, the film must be in colour, the story must take place in the here and now, no superficial action is allowed (ie murder), genre movies are not accepted, the final format must be Academy ratio 35mm, and the director can not be credited. And finally the director must agree to the following statement: “Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a "work", as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.”
Thomas Vinterberg based the screenplay of Festen on a story he heard on Danish radio where an anonymous called recounted a shocking incident at his step-father’s 60th birthday involving a disclosure of sexual abuse within the family. As it turned out the story had been fabricated. Vinterberg incorporated this element of truth and lies blurring together into the movie.
A very wealthy Danish patriarch, Helge (Henning Mortizen) is celebrating his 60th birthday at the family mansion. Along with the waiting and kitchen staff, dozens of guests and his wife Else (Birthe Neumann) his three adult children have arrived; broody Christian (Ulrich Thomsen), emotional Helene (Paprika Steen), and volatile Michael (Thomas Bo Larsen). A fourth sibling, Linda (Lene Laub Oksen), is noticeably absent: she recently committed suicide.
Michael (Thomas Bo Larsen) watches in disgust as Helene (Paprika Steen) kisses Gbatokai (Gbatokai Dakinah)
It is during dinner that Christian decides it is time to deliver his speech. He offers Helge a choice between his yellow speech and green speech. Green it is. And it’s a doozy: he accuses his father of sexually abusing Linda and himself as children, and that Linda’s suicide is essentially a murder. Christian is reprimanded by Michael and Helge, but he returns to the disturbing subject matter again. The situation gets out of hand, and the false sense of aristocratic security is irreparably damaged.
Festen is essentially a melodrama played out mostly in real time (the entire action takes place from late afternoon through to the following morning). But it is a dark and irksome drama spiked with a delicate sense of black humour. One could describe it as a domestic satire; a savage comedy of errors … a familial nightmare of dysfunction.
There’s a slight supernatural element in the form of the ghost of Linda, who “visits” Christian in a dream-like sequence (and again during Christian’s forest banishing and alternative ending both of which are included among the DVD’s deleted scenes). Their relationship is a curious one, and not just that they are twins. While moderen Else remains stoic, Michael becomes increasingly angry with Christian for ruining the celebration. Helene’s black boyfriend Gbatokai (Gbatokai Dakinah) arrive, much to the racist indignation of Michael, and more disturbingly, the rest of the guests, who launch into racist sing-song later in the piece as the alcohol begins to take drastic hold.
There’ll be tears before bedtime as the party’s rigid infrastructure begins to collapse. This is one celebration where the real revelations are by no means the birthday gifts. Helge needs to be made accountable, but it won’t be in any conventional way. The festivities must go on!!
Apart from the spectacular performances from the entire cast, what shines forth from the potent punch that is Festen is Thomas Vinterberg’s visual narrative. The camerawork from cinematographer (that title can only be used most tenuously) Anthony Dod Mantle is utterly brilliant. One could argue that frequently it seems to breach the Dogme rules, in that many of the set-ups appear “artistic”, but at the same time, they serve the dramatic action so succinctly you have to marvel at the ingenuity.
Shooting with only available light means as the daylight disintegrates and practical lights within the household take over the quality of the picture deteriorates as well. Of course, this only serves as a beautiful visual metaphor for the trajectory of the movie’s narrative.
There have been hundreds of Dogme films produced worldwide since Festen (although after scrolling through the filmography on the official Dogme site it appears a vast number of these “entries” are fake, many of which have rather disconcerting titles), and although I’ve only seen a few, it’s apparent The Celebration is considered the best (Lars von Trier’s Breaking The Waves is sometimes confused as one as it uses many Dogme techniques, but it breaches too many of the manifesto’s rules to be officially titled a Dogme film).
Forget Hollywood’s whining, contrived domestic dramas, Festen is the tainted celebration you should be toasting, it’s essential viewing for anyone remotely interested in unforced dramatics and the “art” of filmmaking.
Ironically the only subbed trailer I could find is the American "Hollywood" trailer:
Here's the Danish trailer (sorry, no subs, but the vibe is clear):
Festen DVD is courtesy of Umbrella Entertainment, many thanks!
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Comment by Damo
Probably not my style but I may end up seeing it by mistake on SBS one day.
The concept is good but I do wonder how long such concept will remain fresh before it begins to look like reality TV.
Comment by Bryn
Horrorphile
Festen never feels like realityTV, despite the realism, but who knows what the more recent Dogme entries look like. I'd have thought this would appeal to your sense of socio-political dysfunction.
Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
I like the idea of directors signing that statement... too often, movies seem like the proud peacock of the director, who makes sure his name goes up in huge letters..
Comment by Bryn
Horrorphile