Wednesday, July 29, 2020

It's all jacked up ... but in a good way

So, in the pursuit of watching all of the bad/schlock movies, I was trawling through the recommended listings on Hulu (burn!) and came across a movie called 'The House That Jack Built' with Matt Dillon playing the eponymous Jack. When I discovered that this was also written and directed by Lars Von Trier, I was concerned - I did not want another Antichrist (I would strongly recommend you do not watch that movie, even if it does star William Dafoe.) For those who are not into art movements, Lars Von Trier is catnip for all those arty-farty so-and-so's and is, usually, very self-indulgent when it comes to what he chooses to present to the general public.



But - back to the movie - Jack is about a serial killer who wants to build a house. So far, so unassuming. Now, even though there have been many films which have covered serial killers, I think this is the first to do so in such an original manner. Every scene seems to cover at least one topic of commentary on either the blase approach to violence, the willingness to ignore violence (quite topical at this point in time) or perhaps the fallibility of the human psyche and its willingness to still hope for a positive outcome even while facing their impending doom (which will continue to be topical for the foreseeable future.)

Usually I can gauge a film's quality by the opening few minutes and, after said minutes, I was hooked. It starts with the story behind his first victim, Uma Thurman - but her death ends with a fascinating post-mortem dialog between Jack and what is seemingly a German psychiatrist of some kind. They talk on many aspects of the murder, tool used and also (unsurprisingly) somehow segues into a discussion on renaissance art.

Now, before you think that this movie is some heady, aloof, violence-glorifying art piece, take a step back. The writer/director also manages to inject a strong under-current of very (very) black humour. This plays out even in the initial scene where Uma plays more as the antagonist than the victim, while she verbally assaults Jack saying how he had (hypothetically) messed up his alibi when they were both seen together while fixing a broken car-jack. At this early stage Jack is conveyed simply as an enduring victim under the strong-willed and sharp-tongued determinations of Uma. If I had been presented this scene as a concept, I would not have thought it would work ... but somehow it does just that. Matt Dillon gives an Oscar-worthy performance throughout the movie as he manages to be charming, belligerent, homicidal and somehow still not unlikable to the viewer - which is no small feat. It is this common thread and perhaps the viewer's curiosity to see where the next discussion will go which keeps you invested throughout.

Even if I have painted a seemingly alluring painting, this movie is not without its share of shock-value. There are many scenes which will surely make you grimace but are somehow smoothed out by a discussion or a twist of humour - or even a few bars from 'Fame' by David Bowie. Even though a lot of the film is portrayed realistically, there is always a surrealist element playing just below the surface which perhaps softens some of the scenes and actually assists when reality breaks down in the final throes of the film. Similar to the movie The Voices, you have been primed to go along for the ride by the time it goes off the rails.

In summary, I would recommend watching this movie. This is probably one of the most original and approachable films (by Von Trier's standards) to come out in a decade - but only if you can handle the squeamish parts and see beyond merely the violence. This is a movie which is rife with symbology and does not shear away from the heady topics. Now, more than ever, this movie seems so strikingly poignant. It is well worth a discussion or two.