After completing his European trilogy that included his debut feature The Element of Crime in 1984 that was followed by 1987's Epidemic and 1991's Europa, Danish filmmaker Lars von Trier was easily becoming one of the most compelling filmmakers in Europe. In 1994, von Trier co-directed a Danish TV film called The Kingdom that drew widespread acclaim, as his cult was growing worldwide. While his fame was growing, his life was in turmoil as his mother died and had an awful meeting with his biological father.

Around this time, von Trier converted to Catholicism and began to rebel against his own brand of filmmaking in the past as well as what was going on in cinema at the time. In response to the over stylized world of Hollywood, von Trier and fellow Danish filmmaker Thomas Vinterberg to find the Dogme 95 movement as a way to emphasize storytelling and honesty without any gloss.

While von Trier didn't start work on his own Dogme 95 film The Idiots until 1997, von Trier decided to capture the spirit of his new movement for his next film. Inspired by death, melodrama, and Catholicism, von Trier created not just one of the decade's most evocative achievements but one of the heaviest dramas ever put out in cinema with Breaking the Waves.

Written and directed by von Trier, Breaking the Waves tells the story of a young, shy Scottish woman named Bess who gets married to an oil rig worker named Jan as she recovers from the death of her brother. Discovering the mysteries of sex, Jan is forced to leave Bess to return to the rig as he comes home paralyzed after Bess prays to God to bring him home. Traumatized, Bess blames herself as she decides to degrade herself by making love with other men in order to make Jan happy as the story leads to tragedy.

If von Trier's past films were cinematic and unorthodox in its stylized presentation, Breaking the Waves strips it all down for emotional honesty and spirituality. Playing the role of Bess is British actress Emily Watson in her feature-film debut with Swedish actor Stellan Skarsgard as Jan. Eschewing for heavy melodrama set in a strict, religious doctrine coastal town in Scotland in the 1970s, Breaking the Waves is filled with ambiguities of religion and morality as the naïve Bess learns about the world including sex as she tests her own religious beliefs.

While the film's grainy look from cinematographer Robby Muller in a handheld camera might give the film an authentic, monochrome look, the film includes a dreamy, evocative tone with chapter breaks from artist Pers Kirkeby that gives the idea that the movie might've come out of a storybook. With a cast that includes von Trier regulars Udo Kier and Jean-Marc Barr as well as Kartin Cartlidge, Adrian Rawlins, Sandra Voe, and Jonathan Hackett, Breaking the Waves is one film that just won't move you to tears but will prove to you that love is the greatest power of them all.

The film begins as Bess is having a meeting with the religious council in her Scottish hometown as she is prepared to marry Jan, an oilrig worker. The council including the town's minister (Jonathan Hackett) isn't keen on outsiders but they give her their blessing since she said they have great music. Bess waits for Jan as she is upset that he is late as he arrives with friend Terry (Jean-Marc Barr) as they wed in front of Bess's mother (Sandra Voe) and her sister-in-law Dodo (Katrin Cartlidge). It was a blissful day as Bess and Jan celebrate while the council looks on at ill ease at the outsiders while Dodo reads a letter to Bess praising her generosity to her, especially in the wake of the death of Bess's brother Sam who Dodo had been married to. For Bess, it was a great day as Jan deflowered her in the bathroom, as she felt extremely happy for the first time.

The film's second chapter officially begins as Bess and Jan have sex with Bess realizing its mystique and enjoys the fact that it's driven by love as she prays to God to give her thanks but he warns her that he could take it away unless she acts like a good girl. While Jan and Bess are in bliss, Jan learns of the prejudices in the town since women aren't allowed to speak during services nor attend funerals as he gives Bess a chance to live life to the fullest but knows he couldn't stay long as he is forced to return to the oilrig. While he gives Bess a new dress as a present, she is emotionally distraught that he might not return home as she prayed to God again who scolds her for being selfish since she keeps forgetting how Jan feels.

Jan returns to the oilrig with Terry as Bess lives with her mother and working in the church, as she would wait for Jan to come home as they communicate through phone calls. Though Bess loves talking to him on the phone, she felt it wasn't enough until he told her he would come home for a week in ten days. Bess tells Dodo about the news but when the arrival of one of Jan's friends returns home, Bess becomes obsessed as Dodo destroys her calendar leaving Bess emotionally distraught. Bess prays for Jan to come home as God decides to do that. Jan does come home but due to a freak accident on the rig, he is paralyzed from the neck and might not walk again. Bess blames herself as she talks with God and realizes what she has done.

The fourth chapter begins as Bess and Dodo takes care of Jan in the hospital as he becomes thoroughly depressed and heavily medicated. Bess and Dodo bring him home but on the day of his birthday, Jan feels completely useless and couldn't make love to Bess anymore. He tells her to take a lover, sleep with him, and tell him about as she is sickened by the idea and is extremely angry with him. She leaves him only to be alone and talk with the minister only to come home learning that Jan has been back at the hospital after trying to get some pills leaving him more in pain. Dodo is angry as she suggests that she listens to Jan more as Bess apologizes and takes up Jan's offer.

She is then feeling doubtful as she talks to God once again, only getting scolded again as she decides to prove to him how much she loves Jan. She decides to meet with Dr. Richardson (Adrian Rawlins) where she dances in front of him and then, reveals herself naked only wanting to have sex but Dr. Richardson refuses to. She instead, lies to Jan about what happened, as he doesn't believe her. She tries again, as his condition worsens by telling him that she touched a man in the bus, as he couldn't believe that she did that.

It worked, as he gets better as the sixth chapter begins where she evaluates her faith as she tells Dodo what she's doing as Dodo is sickened by what's going on and in Jan's head. Dodo always defended her for people calling her stupid and couldn't believe that Bess is doing this for Jan as he himself, is starting to feel guilty and morose.

Bess immediately decides to help Jan more by having sex with a man in a bar as she begins to dress up like a hooker. Jan nearly dies during surgery as he learns that she has been doing things that he tells her to do and he loathes himself for it. Bess's mother isn't approving of her behavior, as she's afraid that she'll have to go back to a mental hospital like she did when her brother died.

Even Dr. Richardson believe she's mentally losing it as he suggests that she should go back as Jan feel it would save her. Bess is in shock as she attempts to save Jan's life by degrading herself in front of a sadistic sailor (Udo Kier), confronting the doctrine's prejudice stance on women that forced her banishment in her town, and call on God to give her one final chance to save Jan's life.

The brilliance of the film goes clearly to von Trier for his exquisite approach to storytelling. Bringing a simple story in a dreamy, evocative storybook-like tone with heavy melodrama and spirituality gives a film that isn't just cinematically wondrous but also in comparison to many films of the 1990s, Breaking the Waves is clearly like no other. In the director's chair, von Trier brings out honesty through his actors and setting as if the real sounds of helicopters and winds are the real thing rather than some sound effects. Realism is the key to von Trier's ability as an artist in order to be not just honest with himself but with the audience.

The director in von Trier doesn't like to con the audience as he brings out natural lighting as opposed as to something glossier. He doesn't do that in favor of just being an auteur director telling it like it is rather than have someone like Michael Bay show you what directing is when really, he has no imagination whatsoever.

If von Trier's ability as a director is at its peak with Breaking the Waves, so does his original screenplay (that was co-written with Peter Asmussen). In the writing department, von Trier flesh out characters that are just human with their flaws as the protagonist Bess is filled with conflict in loving God or Jan. Even as the film progresses into points where Bess degrades herself, there is debate whether its exploitation or really a chance for a young woman to explore the world through her husband, God, and all of these people around her in this strict religious doctrine she lives in.

While the sex is pretty graphic, it's because it's real as we see the love of Jan and Bess as if any other couple is revealed. Even in its heavy melodrama from Bess, we see her struggle with her own mentality as she's trying to wonder what is right and what is wrong. Is her behavior wrong because she loves someone so dear fully? Is she wrong for listening to her husband as a devotion to her even if he's sick and filled with guilt?

There's no real clear answer, particularly in the film's melodrama. Especially in the film's ending where the realization of what things have become not just for Jan but also for everyone around her, particularly Dodo who is surrogate big sister that Bess never had. The film's ending isn't just a call for drama but spiritually enlightening in reference to something amiss in Bess and Jan's wedding. The spirituality of the film is clearly like no other film.

Whereas most films of religion tend to be too preachy or not get any kind of message clear, von Trier doesn't give out any Catholic ideals. Instead, he brings something universal as Bess' prayers to God is something everyone can relate to. She's so desperate for God's acceptance as she begins to confront these old men and their strict doctrine just because a woman can't say things in church or be part of a funeral. God doesn't judge her for who she is; he tests her ability and loyalty not just to him and herself but also for Jan and her family.

If von Trier's brilliance in directing and writing is superb, credit must be given to Robby Muller for his dizzying, grainy cinematography. Wherein Dancer in the Dark, he had more to flesh out, particularly in colors. For Breaking the Waves, Muller's handheld camera shots where things pan fast or slowly gives a sense of authenticity as the audience feels like they're in 1970s Scotland as they watch this poor, naïve woman willing to save her husband's life. Muller clearly brings in his best work as a cinematographer.

The authenticity that Mueller and von Trier captures in the film is also captured in many of the film's exterior and notably, the interior scenes by art director Karl Juliusson who gives the film a realistic look and feel of the home with a feeling of claustraphobia. The costumes by Manon Rasmussen also has that 70s feel. Editor Anders Refn brings a stylized feel to the film without feeling to slow though there's moments of strange jump cuts with a frame taken out. Yet it's that style of editing that works to give the film a unique feel. Sound designer Per Streit even captures a feeling of the film in the technical sense that the movie sounds real without any kind of manipulation.

If Pers Kirkeby help gives the film a storybook feel for his dreamy, evocative chapter break sequences, it's the use of music that helps enlightens it with songs by Mott the Hoople, Jethro Tull, Leonard Cohen, Deep Purple, Rod Stewart, Procol Harum, and two classic cuts by Elton John. Even the music of T. Rex, Roxy Music, Bob Dylan, and all sorts of early 70s classics and orchestral pieces by Bach that come abroad as von Trier uses the music as a sense of joy as Bess says the best thing the outsiders brought was their music.

Now we come to the film's brilliant cast. From its small roles of the townspeople in Scotland to the highly conservative council, the performances in all of these roles are played perfectly. While Udo Kier and Jean-Marc Barr each have small roles, they both were well used in their brief time as Kier is maliciously perfect as the sailor who tries to rape Bess while Barr is perfect as Jan's buddy Terry who also sees the awful attitude of the council.

Adrian Rawlins is superb in his role as Dr. Richardson who tries to sway Bess' sex appeal while trying to help her in her emotional state of mind as he is overcome with guilt in the end. Sandra Voe is excellent as Bess's strict mother as she watches her daughter behave erratically as she refuses to take her in as she degrades herself only to watch her trying to save Jan. Jonathan Hackett gives an ominous, complex performance as the minister who tries to help Bess but is very ambiguous when he refuses to help in her time of need as he ends up becoming one of the council members.

Of all the people in the supporting cast, no one delivers a better performance than Katrin Cartlidge as Dodo McNeil. Cartlidge delivers a performance as Bess McNeil's protective sister-in-law who in many respects plays the surrogate sister. Cartlidge throughout the film plays a woman protecting Bess from anything and at times, is very selfish, as early in the film, she doesn't trust Jan. As the film progresses, the character learns of Jan's feelings as he is paralyzed and depressed knowing that Bess needed to get out more and by the film's final chapter, Dodo gives in to Bess' pleas.

Cartlidge delivered the same heartbreak that Watson delivers as well as a moralistic center in the film as she would later see the restriction of the town she's lived in and what it has done to Bess and Bess' mother. Cartlidge should've gotten recognized in the Supporting Actress category in the films but sadly in 2002, she died of complications due to pneumonia. Lars von Trier was admittedly devastated by her death as he dedicated his 2003 film Dogville just to her as Cartlidge remains one of von Trier's greatest actresses.

In the role of Jan, Stellan Skarsgard is brilliant in his anguished performance of a man paralyzed by his inability to love Bess. Skarsgard in the film starts off, as charming and loving as he introduces Bess to the world outside and being the loving husband women would want. He also plays up to his wild stature whenever he's with his pals at the oilrig when he's really devoted to his wife. He brings in great chemistry with Watson and Cartlidge as his character becomes paralyzed; we see the pain and guilt he's in as he tries to save Bess from doing something wrong.

Skarsgard makes Jan a bit complex and sometimes, repulsive for what he wants from Bess. It's a very complex role as Skarsgard delivers an amazing performance as he would not only continue to work with von Trier in future films but become one of the best European actors of the past decade for many films including several in the U.S.

Of all the performances in the film and from the cast, no one will ever live up to the stature or magnificence of Emily Watson as Bess McNeil. In her debut performance in a film, Watson outshines many actresses as far as breakthrough performances are concerned. Here, this is the breakthrough performance of not just the decade but also probably one that will be hard to top in the years to come. Watson delivers a performance that is very stripped-down, not just physically as she did full-frontal nude scenes, but also mentally and emotionally. Even when she doesn't speak, there's a sense of subtlety and minimalist tone that really shines as the audience knows what's she's thinking without letting her speak.

In the role of Bess, Watson plays the role in the beginning as an innocent young woman, who is really an overgrown girl with an innocence that is appealing not just to Jan but also to everyone. The childlike innocence of Bess is captured in its most pure as we see Watson not just watching a film or eyeing Jan early on in the movie but in her scenes as she talks to God where in a firmer voice, she speaks God's words. Though that might seem to be disturbing on a mental level, in truth, it's really one of the most emotional and spiritual moments of the film. When the film progresses, we see how naïve and emotionally distraught she is when Jan is leaving and how her loneliness is filled with sadness and desperation as she prays for his homecoming.

Watson doesn't bring out any theatrics or anything to wow the audience just for awards. Instead, she brings the emotional honesty that von Trier wanted and in some cases, he even overshadows von Trier's directing to give a raw, emotionally honest performance that is unparalleled as her character degrades herself. It's this fearlessness that isn't just heartbreaking but one that will never escape in the minds of anyone. Watson of course, got an Oscar nomination for Best Actress for this role as well as several nominations as the years since; she's become one of the most respected actresses in the industry. From films like The Boxer, Trixie, Hilary & Jackie, Gosford Park, and Punch-Drunk Love, Watson has become an actress that continues to surprise and stretch her own limits as many peers continue to acknowledge her.

Still, it's her performance in Breaking the Waves that still has many actresses talking from Nicole Kidman to Naomi Watts acknowledging the influence that Breaking the Waves had from Emily Watson. Today, that kind of minimalist, stripped-down approach to acting has become synonymous as Kidman used some of that for her performance in Dogville while Watts herself even used the emotional honesty in 21 Grams.

It's not just some in the industry that has cited Watson's influence in that performance but other actresses have also used Watson's minimalist approach to acting to further the ground on what isn't needed in a performance. The most recent examples have been Maggie Gyllenhaal for Secretaryand Scarlett Johansson for Lost in Translation and Girl with a Pearl Earring where both women used their body language to convey emotions rather than saying any dialogue. I'm not sure what kind of training Watson had prior to Breaking the Waves but whatever she did, I would hope she would get an Academy Award for all of her performances, notably Breaking the Waves.

While some might not like the heavy melodrama or the ambiguous role women played in the film, Breaking the Waves still stands as an evocative, heartbreaking masterpiece from Lars von Trier with a luminous performance from Emily Watson. Though Breaking the Waves would be part of the Golden Hearts trilogy on women that would follow with 1998's The Idiot and 2000's Dancer in the Dark, neither of those films will carry the emotional battery Breaking the Waves have. For those who don't like films with any sense of melancholy should stay away from this because the film will move you beyond tears as the performances and tone of the film just keeps on breaking.

For von Trier, this film really put him on the map as not just a serious filmmaker but also one with a grand vision that is extraordinary. In its spiritual and honest tone, Breaking the Waves achieves that in its storybook presentation. While von Trier isn't for everyone, he is probably right now one of the most uncompromising of all filmmakers as he is willing to push the audience and make them feel something depending on any kind of emotion. If there's one film from Lars von Trier to ever watch in a lifetime, it's Breaking the Waves.

Lars von Trier Reviews:

Europa Trilogy: The Element of Crime - Epidemic - Europa

The Kingdom: (The Kingdom I) - (The Kingdom II)

Golden Hearts Trilogy: Idioterne/Dogme #2 - Dancer in the Dark

USA-Land of Opportunities Trilogy: Dogville - Manderlay - (Wasington)

Miscellaneous: Tranceformer-A Profile on Lars von Trier - The Purified

Non-Trilogy Films: (Medea) - The Five Obstructions - The Boss of It All - Antichrist

Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good Date Movie
Suitability For Children: Not suitable for Children of any age