a crazy danish tv series: Riget
Riget
Through graphic scenes, dynamic characters, and absurd humor Lars von Trier presents a world in which values exist along side the horror that he wishes to present to his audience. Von Trier displays a dark sense of humor in his creations, as seen both in The Kingdom (I and II) and Breaking the Waves. This humor, and von Trier’s film style, create a unique experience perceived through his creations. His distinct style allows for his stories to feel even more extraordinary. In this paper I will explore Lars von Trier’s style though his stories, characters and film elements. I will look briefly into the film “Breaking the Waves” and the new Stephen King’s Kingdom Hospital in which von Trier is an executive producer, but focus mostly on The Kingdom and some aspects of The Kingdom II.
When viewing The Kingdom mini-series themes and values seem to disappear behind the highly entertaining plot and characters, but they are not gone. In this four part series the themes von Trier displays are those of friendship or fellowship, loyalty, and helping those in need. The characters that do not abide by these concepts are punished, such as in the case of Helmer. The characters that follow through with their loyalty and friendship come out with some success, but of course because there is no conclusion everything cannot be rapped up with a nice red bow.
Von Trier does not attempt to strictly follow the traditional rules of film in his editing, cinematography and music. Von Tries includes much high film style in this project, but also there are the aspects that label it as a television series. Looking at The Kingdom as a film it is very inventive, but when looking at it in terms of television, whether series or mini-series, it does not seem so original simply because of the combination of film and television techniques, but for its time it was. Part of this is the editing between stories. Because there is such a complex-multi-character plot the editing must adapt to this. The most common pattern is that one story line is introduced, this continues until tension builds, which is broken by the introduction of a secondary story line. There is only a brief stop on this second story before the audience is returned to the first plot line, but once this concludes (temporarily at least) the second story line becomes the focus. This pattern is modified to include many different plots shown at once, or continues with the same pattern of switching between two story lines as more are added.
The multi-plot format is also reflected in the cinematography. Most of the camera work is done hand held without a Steady-Cam. This adds to the urgency and realistic feel of the hospital (although the plot is not grounded in reality, the idea of a science and hospitals are). The multiple plots are pushed along by this urgency. Without a consistent style in the camera work the audience would feel lost, so it seems this might be why von Trier and his cinematographer chose not to vary the stye too much. Although, there is variation. During a moment of tension or uncertainty of the audience, the cinematography becomes very stylized. This can be seen in the opening shots of The Kingdom with the bleaching ponds and the first moments at the hospital.
In the opening explanation of the history of the land that the hospital is built on, there is a slow monotonous feeling to the era. The absence of jump cuts and presence of fades reflect this. Every shot is carefully chosen and put into place. This continues into the first shots of the hospital with Hensen running out to see the ghost ambulance. The low angle shots give a sense of smallness. This type of shot, in association with the empty halls and ghost ambulance, brings a creepy lonely feeling to the audience. This seems to be how von Trier wanted the stage to be set for his story.
These planned shots that are carefully set and organized are also seen in the slower high tension scenes that periodically appear in The Kingdom. These scenes mostly involve the plot line between Ms. Drusse and Mary. When Emma Mogensen passes on and speaks to Mary there is an amazing shot between the florescent lights down on Ms. Drusse. This shot shows the insignificance of Ms. Drusse compared to the world beyond. Although, not the same type of tension, the scenes in which Helmer escapes to the roof show a similar style. Helmer is looked down upon with the camera circling above him. These shots show his smallness and desperation to escape this “damned Denmark.” Bird’s-eye-view shots are commonly used by von Trier on different occasions of importance in The Kingdom.
In combination with the cinematography, the music and sound sets the tone of the scenes of this mini-series. As the hand-held camera work gives the impression of reality so does the lack of background music. The sounds consists primarily of diegetic sound, or sounds that originate from a source within the film’s world. There is not hip rock and roll songs or corny background music, the only composed music, or nondiegetic sound, is used in very specific moments of tension or emotion. The most common musical theme is the tension music that is played when a ghost appears, or something else unexplainable happens. This theme is mostly used to transition between plot lines, but also used in extreme moments during the action. The other theme that is repeated is the violins that are played at Emma’s death. When other moments of sadness or sweetness occur this music is put in to draw attention to the moment. This use of sound, in my opinion, allows for the von Trier’s story to be the focus, not the presentation.
For von Trier’s the Kingdom to be so effective in drawing the audience in, the characters become of great importance. Each person within this story has a distinct personality, quirks and all. Because of the many plot lines that von Trier has included in this mini-series there are many characters. Often these characters are paired with another to bring the most out of their personality. To begin I would like to discuss the pair of dishwashers. These two characters take the role of interludes in the story. (A concept that von Trier seems to be fond of as this is also seen in the chapter titles in Breaking the Waves.) They offer summary and explanation. Dishwasher 2, the young man, seems to play the representation of von Trier. I say this, clearly only theorizing, because he holds the answers that Dishwasher 1, or the representation of the audience, asks. This question and answer pattern allows for more understanding of what messages von Trier is attempting to present and a greater understanding of the events of the story.
As these two characters are paired to explain, other characters are paired to give dynamic relationships to the story. One of these pairs is Moesgaard and Helmer. As these two are the representation of Denmark and Sweden, respectively, they play a comic role from this perspective. As they play off each other, the story progresses and there is humor. This ‘friendship’ works because of Moesgaard’s kindness and naiveté and Helmer’s dishonesty and deception. Individually these two play very different roles. Helmer is the character to hate, while Moesgaard is the one to be fond of. Often having conversations in the halls of the hospital they solve each others problems, Moesgaard through loyalty, Helmer because he must.
Another dynamic duo is Ms. Drusse and her son Bulder. This mother son relationship brings tension and relatabilty, for the audience. One might imagine von Trier was drawing form his own experience. In this relationship Bulder, although much larger, is pushed around by his mother. Her skill in guilting him into things is clearly something she takes advantage of, and Bulder cannot avoid succumbing to. Although this relationship may seemed severely flawed, it is clear that they have a very loving connection. There is no truly clear example of this in The Kingdom, besides the simple affection Bulder shows for his mother through following through with her requests, but in the The Kingdom II there is more. In the opening sequence in which Ms. Drusse is seriously injured, we see Bulder’s concern and love for his mother.
A pairing that is less direct is the match between Mona and Mary. Much of this match is done through their similarities in situations, and one shot in which the camera focuses down on these two as they sit in the exact same position in Mona’s room. Both are sympathetic characters that reflect a flaw in the medical practice that the hospital is built on. Mary’s part in the mini-series is to drive the plot along for Drusse and those characters that she is involved with. Mona pushes the plot forward for Helmer and those the he works with. Both girls bring about change for the hospital, or at least Mona potentially will if the plot continues as it is. This change is what the opening bleaching pond sequence foreshadows and is clearly the main focus of von Trier’s creation.
Those mentioned above are the main examples of the pairing of characters. The additional characters also play significant roles but in different ways. There is Hook who, as the series explains, keeps the hospital running. He also plays the role of the every man as an attending who does not have the authority he would like. Judith is connected to Hook through their relationship and their being in the same department. She does represent a significant part of the hospital or plot, but is another dynamic of the story. In The Kingdom II her role is larger with Little Brother and his importance. Rigmor is the example of loyalty as she supports Helmer whole heatedly. Her transformation after his betrayal is one of the great dark comedic aspects of The Kingdom. This comedy is also seen through Mogge. As Moesgaard’s son he shares the same traits or comedy and over zealousness. When he goes over board with an idea he falls into a great amount of trouble, as with his chase of Camilla.
These interesting and diverse characters are what make up the world of The Kingdom. Without them the story is simply a traditional ghost story, which it really isn’t. Although von Trier’s series was not able to go beyond six episodes, these characters are simulated in the new creation Kingdom Hospital that Stephen King has adapted from The Kingdom. This is not really connected to the original in terms of von Trier’s concept, but it is interesting to look at the American take on this Danish creation.
In this look at the Kingdom hospital much of the characters are the same, down to names and the look of the actors. Some scenes are exactly duplicated, for example Helmer’s difficulty with the boys in the parking lot. In Kingdom Hospital this is done with a twist to make it work with modern cars’ lack of hubcaps, also with who would be hanging around an American hospital. Another major difference is the part that Hook plays. He is not just an assistant register, but a prominent surgeon who is instructing the character that replaces Mogge (ironically named Elmer-too similar to Helmer to not be a joke). This difference I believe to be inserted because for America the relatable every man must be the best at what he does. He cannot be low on the ranks simply because of the misguided American dream that everyone can make it to the top. The extreme simulates can probably be contributed to Lars von Trier’s presence as an executive producer, but there are some definite differences that follow themes that Stephen King has used in his past works. An example of this is the inclusion of a giant anteater that it seems only the sick can see, King often uses animals in his stories of strange origin. This progression of The Kingdom into a new version for a new audience shows the staying power of von Trier’s story and characters. These are powerful inventions that audiences are drawn to.
Lars von Trier’s The Kingdom is a story of ghosts, friendship and medicine. It is a dynamic story that continues on, although not in the original format. Through it’s plot we are presented with an interesting world in which ghosts and other strangities are a reality. Using a style of realism for this film the audience is even further connected to the wonderful and entertaining characters. The message that von Trier seems to giving us is that you must except the good with the evil. This is seen in his speech during the credits and also in the story he presents. As the characters struggle through there world there is good and bad to each of them. This is why must, and do, love them, both in this creation of The Kingdom and others such as Breaking the Waves.
Through graphic scenes, dynamic characters, and absurd humor Lars von Trier presents a world in which values exist along side the horror that he wishes to present to his audience. Von Trier displays a dark sense of humor in his creations, as seen both in The Kingdom (I and II) and Breaking the Waves. This humor, and von Trier’s film style, create a unique experience perceived through his creations. His distinct style allows for his stories to feel even more extraordinary. In this paper I will explore Lars von Trier’s style though his stories, characters and film elements. I will look briefly into the film “Breaking the Waves” and the new Stephen King’s Kingdom Hospital in which von Trier is an executive producer, but focus mostly on The Kingdom and some aspects of The Kingdom II.
When viewing The Kingdom mini-series themes and values seem to disappear behind the highly entertaining plot and characters, but they are not gone. In this four part series the themes von Trier displays are those of friendship or fellowship, loyalty, and helping those in need. The characters that do not abide by these concepts are punished, such as in the case of Helmer. The characters that follow through with their loyalty and friendship come out with some success, but of course because there is no conclusion everything cannot be rapped up with a nice red bow.
Von Trier does not attempt to strictly follow the traditional rules of film in his editing, cinematography and music. Von Tries includes much high film style in this project, but also there are the aspects that label it as a television series. Looking at The Kingdom as a film it is very inventive, but when looking at it in terms of television, whether series or mini-series, it does not seem so original simply because of the combination of film and television techniques, but for its time it was. Part of this is the editing between stories. Because there is such a complex-multi-character plot the editing must adapt to this. The most common pattern is that one story line is introduced, this continues until tension builds, which is broken by the introduction of a secondary story line. There is only a brief stop on this second story before the audience is returned to the first plot line, but once this concludes (temporarily at least) the second story line becomes the focus. This pattern is modified to include many different plots shown at once, or continues with the same pattern of switching between two story lines as more are added.
The multi-plot format is also reflected in the cinematography. Most of the camera work is done hand held without a Steady-Cam. This adds to the urgency and realistic feel of the hospital (although the plot is not grounded in reality, the idea of a science and hospitals are). The multiple plots are pushed along by this urgency. Without a consistent style in the camera work the audience would feel lost, so it seems this might be why von Trier and his cinematographer chose not to vary the stye too much. Although, there is variation. During a moment of tension or uncertainty of the audience, the cinematography becomes very stylized. This can be seen in the opening shots of The Kingdom with the bleaching ponds and the first moments at the hospital.
In the opening explanation of the history of the land that the hospital is built on, there is a slow monotonous feeling to the era. The absence of jump cuts and presence of fades reflect this. Every shot is carefully chosen and put into place. This continues into the first shots of the hospital with Hensen running out to see the ghost ambulance. The low angle shots give a sense of smallness. This type of shot, in association with the empty halls and ghost ambulance, brings a creepy lonely feeling to the audience. This seems to be how von Trier wanted the stage to be set for his story.
These planned shots that are carefully set and organized are also seen in the slower high tension scenes that periodically appear in The Kingdom. These scenes mostly involve the plot line between Ms. Drusse and Mary. When Emma Mogensen passes on and speaks to Mary there is an amazing shot between the florescent lights down on Ms. Drusse. This shot shows the insignificance of Ms. Drusse compared to the world beyond. Although, not the same type of tension, the scenes in which Helmer escapes to the roof show a similar style. Helmer is looked down upon with the camera circling above him. These shots show his smallness and desperation to escape this “damned Denmark.” Bird’s-eye-view shots are commonly used by von Trier on different occasions of importance in The Kingdom.
In combination with the cinematography, the music and sound sets the tone of the scenes of this mini-series. As the hand-held camera work gives the impression of reality so does the lack of background music. The sounds consists primarily of diegetic sound, or sounds that originate from a source within the film’s world. There is not hip rock and roll songs or corny background music, the only composed music, or nondiegetic sound, is used in very specific moments of tension or emotion. The most common musical theme is the tension music that is played when a ghost appears, or something else unexplainable happens. This theme is mostly used to transition between plot lines, but also used in extreme moments during the action. The other theme that is repeated is the violins that are played at Emma’s death. When other moments of sadness or sweetness occur this music is put in to draw attention to the moment. This use of sound, in my opinion, allows for the von Trier’s story to be the focus, not the presentation.
For von Trier’s the Kingdom to be so effective in drawing the audience in, the characters become of great importance. Each person within this story has a distinct personality, quirks and all. Because of the many plot lines that von Trier has included in this mini-series there are many characters. Often these characters are paired with another to bring the most out of their personality. To begin I would like to discuss the pair of dishwashers. These two characters take the role of interludes in the story. (A concept that von Trier seems to be fond of as this is also seen in the chapter titles in Breaking the Waves.) They offer summary and explanation. Dishwasher 2, the young man, seems to play the representation of von Trier. I say this, clearly only theorizing, because he holds the answers that Dishwasher 1, or the representation of the audience, asks. This question and answer pattern allows for more understanding of what messages von Trier is attempting to present and a greater understanding of the events of the story.
As these two characters are paired to explain, other characters are paired to give dynamic relationships to the story. One of these pairs is Moesgaard and Helmer. As these two are the representation of Denmark and Sweden, respectively, they play a comic role from this perspective. As they play off each other, the story progresses and there is humor. This ‘friendship’ works because of Moesgaard’s kindness and naiveté and Helmer’s dishonesty and deception. Individually these two play very different roles. Helmer is the character to hate, while Moesgaard is the one to be fond of. Often having conversations in the halls of the hospital they solve each others problems, Moesgaard through loyalty, Helmer because he must.
Another dynamic duo is Ms. Drusse and her son Bulder. This mother son relationship brings tension and relatabilty, for the audience. One might imagine von Trier was drawing form his own experience. In this relationship Bulder, although much larger, is pushed around by his mother. Her skill in guilting him into things is clearly something she takes advantage of, and Bulder cannot avoid succumbing to. Although this relationship may seemed severely flawed, it is clear that they have a very loving connection. There is no truly clear example of this in The Kingdom, besides the simple affection Bulder shows for his mother through following through with her requests, but in the The Kingdom II there is more. In the opening sequence in which Ms. Drusse is seriously injured, we see Bulder’s concern and love for his mother.
A pairing that is less direct is the match between Mona and Mary. Much of this match is done through their similarities in situations, and one shot in which the camera focuses down on these two as they sit in the exact same position in Mona’s room. Both are sympathetic characters that reflect a flaw in the medical practice that the hospital is built on. Mary’s part in the mini-series is to drive the plot along for Drusse and those characters that she is involved with. Mona pushes the plot forward for Helmer and those the he works with. Both girls bring about change for the hospital, or at least Mona potentially will if the plot continues as it is. This change is what the opening bleaching pond sequence foreshadows and is clearly the main focus of von Trier’s creation.
Those mentioned above are the main examples of the pairing of characters. The additional characters also play significant roles but in different ways. There is Hook who, as the series explains, keeps the hospital running. He also plays the role of the every man as an attending who does not have the authority he would like. Judith is connected to Hook through their relationship and their being in the same department. She does represent a significant part of the hospital or plot, but is another dynamic of the story. In The Kingdom II her role is larger with Little Brother and his importance. Rigmor is the example of loyalty as she supports Helmer whole heatedly. Her transformation after his betrayal is one of the great dark comedic aspects of The Kingdom. This comedy is also seen through Mogge. As Moesgaard’s son he shares the same traits or comedy and over zealousness. When he goes over board with an idea he falls into a great amount of trouble, as with his chase of Camilla.
These interesting and diverse characters are what make up the world of The Kingdom. Without them the story is simply a traditional ghost story, which it really isn’t. Although von Trier’s series was not able to go beyond six episodes, these characters are simulated in the new creation Kingdom Hospital that Stephen King has adapted from The Kingdom. This is not really connected to the original in terms of von Trier’s concept, but it is interesting to look at the American take on this Danish creation.
In this look at the Kingdom hospital much of the characters are the same, down to names and the look of the actors. Some scenes are exactly duplicated, for example Helmer’s difficulty with the boys in the parking lot. In Kingdom Hospital this is done with a twist to make it work with modern cars’ lack of hubcaps, also with who would be hanging around an American hospital. Another major difference is the part that Hook plays. He is not just an assistant register, but a prominent surgeon who is instructing the character that replaces Mogge (ironically named Elmer-too similar to Helmer to not be a joke). This difference I believe to be inserted because for America the relatable every man must be the best at what he does. He cannot be low on the ranks simply because of the misguided American dream that everyone can make it to the top. The extreme simulates can probably be contributed to Lars von Trier’s presence as an executive producer, but there are some definite differences that follow themes that Stephen King has used in his past works. An example of this is the inclusion of a giant anteater that it seems only the sick can see, King often uses animals in his stories of strange origin. This progression of The Kingdom into a new version for a new audience shows the staying power of von Trier’s story and characters. These are powerful inventions that audiences are drawn to.
Lars von Trier’s The Kingdom is a story of ghosts, friendship and medicine. It is a dynamic story that continues on, although not in the original format. Through it’s plot we are presented with an interesting world in which ghosts and other strangities are a reality. Using a style of realism for this film the audience is even further connected to the wonderful and entertaining characters. The message that von Trier seems to giving us is that you must except the good with the evil. This is seen in his speech during the credits and also in the story he presents. As the characters struggle through there world there is good and bad to each of them. This is why must, and do, love them, both in this creation of The Kingdom and others such as Breaking the Waves.
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