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The marriage ceremony itself brings up some interesting contrasts between the boisterous riggers and strict, buttoned-up villagers. Whilst one group guzzles cans of beer, the other quenches its thirst with wholesome lemonade - though both crush their drinking vessels. Floating above this swell of mutual incomprehension, Bess rests ecstatic in the simple pleasures of marriage, consummating her union with Jan as rapidly as possible. Although Dodo is their only supporter in the village, the couple are oblivious in the bliss of their romance. Bess has blossomed into a woman, awakened by sexual love with a man who fulfils her every desire (even though she is too naive to contemplate all possible needs). However, Jan has to return to the rig at some point and the thought of this separation is almost too much for Bess to bear. Fragile at the best of times, Bess winds herself into a frenzy of emotion (all to no avail).
Without Jan, the world is suddenly colourless for Bess. Mother (Sandra Voe) opines that such suffering is simply the price of existence, while Grandfather (Phil McCall) is far too remote for contact, even if Bess dared to try. Alone, Bess turns back to God, pitifully grateful for her new-found focus yet pleading for Jan's return (at any cost). Unfortunately, the coincidental industrial accident which renders Jan totally paralysed reinforces the link between prayer and reality in Bess' mind (even if Jan does come home early). Bess has her husband back, for sure, but he's a mere shadow of his former self. Plunging further into depression, convinced that she brought about the oil-rig incident, Bess is on the path to mental breakdown. There is a partial solution to her self-destruction but it'll rip Bess into pieces, a total sacrifice for love.
Breaking the Waves is a stunning study of off-kilter innocence and the crushing mores of an ascetic religious community (where life is purely preparation for the hereafter). Brought up in the community-imposed isolation of her birthplace, where women are repressed physically, emotionally and spiritually, Bess has retained a religious angle which is uniquely hers. Communicating with God on a personal level, Bess solves her most difficult choices by voicing both sides of the conversation. This approach has the double-edged effect of allowing her the flexibility to marry an outsider whilst feeding her iceberg-like mental instabilities. In a superb debut, Watson displays the impressive emotional range required to indicate Bess' internal conflict yet never tumbles into over-acting.
This is truly impressive film-making by Lars Von Trier. Despite its length, the story holds itself on an edge, never revealing its next turning and remaining thoroughly engrossing. Heavy sexual and religious themes are presented with a deft touch, highlighting contrasts of community, personality, spirit and belief. The events which well up from Bess' misguided conclusions that her behaviour is saving Jan could easily have descended into the realm of soft-core porn, if not for the saving grace of the cast's performance's. Watson is central and impressive, while Skarsgård brings a weight to the role which imparts believability to Bess' actions. Jan isn't exactly perfect yet he isn't malicious either, just confused, selfish and desperate - a tricky balance. Behind these two the ostracizing community is well constructed, full of dark looks and fiery sermons.
The style of Breaking the Waves deliberately evokes a fly-on-the-wall, documentary feel in an effort to bring the audience face-to-face with the characters. Consistent use of a hand-held camera induces a slight feeling of sea-sickness at first, but this fades as the story orientates itself. Beyond this filming technique, the wide-screen stock was put through a film-video-film transfer process, muting the colour and producing noticeable grain. It seems strange that the artificiality of the whole enterprise is then brought into sharp focus by splitting the tale into nine chapters, breaking the narrative flow for no obvious reason. Fortunately this fails to harm the intimate nature of Breaking the Waves, although there is a nagging suggestion that Breaking the Waves could have been a masterpiece.
This film was nominated for review by Beth Craven and Frank Hartung.
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