Willem Dafoe

There's been talk that the much lauded production of Thornton Wilder's Our Town will move to Broadway. While the producers deliberate this move, let me say, you can really smell the bacon in this play.

"Lars von Trier isn't going to talk to a lot of press." Yeah, yeah; yadda-yadda. But just because he isn't talking to us doesn't mean we can't talk about him, particularly about his childhood.

Lars von Trier is a fraud, who keeps making movies because he has somehow convinced enough people that his delusions or pretensions (the latter, more likely) are art and that his movies are worthwhile.

While many are going to focus yet again on whether Von Trier is a misogynist (more on that in a minute), I found in this film a central impulse to indict as ineffective and self-deceiving man's attempts to superimpose order atop his own woefully un-examined (mis-examined?) nature.

Questions for Lars von Trier: "You had a a researcher on misogyny in the credits. In the writing or making of this film did you learn something about misogyny in yourself, in your work?"

The film is marked by anxiety, cruelty and power manipulation in which the climax is a clitorectomy executed with a pair of scissors.

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