Here is the house
that Jack built.
And this is wheat
In the house,
that Jack built.
And this is a nasty fat rat
Which is stored in a dark closet
In the house,
that Jack built.
Here is the cat. He's terribly proud of himself
That fat gray rat
With the habits of an old cunning fox,
Which often steals wheat,
Which is stored in a dark closet
In the house,
that Jack built.
And here is the dog - simplicity itself,
But only something does not like the cat,
For the fact that he, like a fire, is afraid
That fat gray rat
With the habits of an old cunning fox,
Which often steals wheat,
Which is stored in a dark closet
In the house,
that Jack built.
And here is the cow without the right horn,
She is angry with the dog
Who is terribly proud of himself
For the fact that he, like a fire, is afraid
That fat gray rat
With the habits of an old cunning fox,
Which often steals wheat,
Which is stored in a dark closet
In the house,
that Jack built.
And here comes the girl - touchy!
She milks a cow without a horn,
For the fact that the dog is simplicity itself
But still she doesn't like the cat very much,
Who is terribly proud of himself
For the fact that he, like a fire, is afraid
That fat gray rat
With the habits of an old cunning fox,
Which often steals wheat,
Which is stored in a dark closet
In the house,
that Jack built.
And this is a shepherd, lazy and loafer,
Which is no later than Monday
Which is a little evil on the dog
For the fact that the dog is simplicity itself,
But still she doesn't like the cat very much,
Who is terribly proud of himself
For the fact that he, like a fire, is afraid
That fat gray rat
With the habits of an old cunning fox,
Which often steals wheat,
Which is stored in a dark closet
In the house,
that Jack built.
And this is the priest who crowned on Christmas Eve
In the rye he kissed his touchy,
Who milks a cow without a horn
Which is a little evil on the dog
Because the dog is simplicity itself.
But still she doesn't like the cat very much,
Who is terribly proud of himself
For the fact that he, like a fire, is afraid
That fat gray rat
With the habits of an old cunning fox,
Which often steals wheat,
Which is stored in a dark closet
In the house,
that Jack built.
And this is a rooster. He sings songs
That shepherd who, although a loafer,
But still no later than Monday
In the rye he kissed his touchy,
Who milks a cow without a horn
Which is a little evil on the dog
For the fact that the dog is simplicity itself,
But still she doesn't like the cat very much,
Who is terribly proud of himself
For the fact that he, like a fire, is afraid
That fat gray rat
With the habits of an old cunning fox,
Which often steals wheat,
Which is stored in a dark closet
In the house,
that Jack built.
And here is the peasant in whose house he lives
The same rooster that sings songs
And this does not let the priest sleep,
Who married the Christmas Eve before last
That shepherd who, although a loafer,
But still no later than Monday
In the rye he kissed his touchy,
Who milks a cow without a horn
Which is a little evil on the dog
For the fact that the dog is simplicity itself,
But still she doesn't like the cat very much,
Who is terribly proud of himself
For the fact that he, like a fire, is afraid
That fat gray rat
With the habits of an old cunning fox,
Which often steals wheat,
Which is stored in a dark closet
In the house,
that Jack built.
Reviews
Igor,
I'm glad to see you on the main page, regardless of the occasion :))).
Knowing your talent, I think that you could still make the beginning of the poem different from Marshak's. And I believe you will.
Not at all because someone not too smart immediately rushed to accuse you of "plagiarism". It's just always interesting to solve a super-problem, isn't it? :)))
As for Vladislav Sergeev, it's great that he put your translation on the main page and drew attention to it. For my part, I advise everyone to rush to your page in order to get high, having bathed in English children's poetry, in the poems of Edward Lear, in limericks, etc.
And I do not quite agree with you about the "virtual" popularity. Indeed, on the Internet - the same readers who are no different from real ones :))). Yes, the stupidity of all kinds of "criminals" is more clearly visible in the virtual world (I do not mean Misha Translater, although I do not agree with a number of his remarks). But popularity in the virtual is not at all virtual popularity, but quite real :)). And if 15 thousand people read your poems online, then these are exactly 15 thousand REAL readers. Do not forget about it :)).
After all, we write for our readers, after all. And nothing else. Otherwise - only masturbation :))).
All the best to you and continued success.
It's funny, but there was also an option with rice.
Namely - "a fat rat that spoils rice bags ..." something like that. But rice is still some kind of too Asian option.
Imagine, "The house that Zhang Li built." By the way, a great topic for a parody - the alterations of Russian ditties into hockey are known.
You can often hear the following widely used judgment: it doesn't matter how they say it, the main thing is that they say it. ABOUT Lars Von Trier , no doubt, they will talk for a long time and a lot, even if suddenly the house built by Jack turns out to be the last creation erected by a strange Dane. If so, then the conclusion is quite symbolic. A strange creator in his mind with his vision, on the one hand, repelling someone, and on the other hand, bewitching and exciting, completes ( or not) an interesting way with a story about an even stranger ( read: scary) a creator with an even more repulsive and disgustingly bewitching vision. An amazing story, not to see which would be somehow a sin.
The story of Jack, first of all, is not about a maniac as such, but about the search for himself by this maniac. Or more precisely, it is a great study of his understanding of the world and eternal questions through terrifying inner desires. At Von Trier there is a full-fledged immersion into the depths of the consciousness of the creator, who has chosen the most disgusting way to create and diligently proves that even in murder there is a kind of beauty. Structurally, Fontrier's tale of Jack's misadventures looks simple enough: a tale of five of the most frightening incidents, ranging from the first accidental murder to a deliberate attempt to repeat something legendary. Of course, with each story, the degree of cruelty increases, but it does not go beyond some unthinkable limits if the viewer at the screen is not very sensitive. Von Trier does not seek to make the viewer look away from the screen, although he may have wanted such an effect somewhere. Who knows what's in his head? With each new incident, the audience gradually becomes visible personal growth Jack from an insecure inexperienced killer to a top-class maniac who is not afraid to attract attention and is no longer shy about his hobbies, proudly waving a special wallet in confirmation. Undoubtedly, such a transformation is terrifying, and largely thanks to the game Matt Dillon , most surprisingly suitable for the role of a cruel monster. Dillon so organically manages to portray an emotionless person trying to learn emotions in one case, and a frightening, but reasonable psychopath without principles in each other, that one can only be amazed at how accurately Von Trier made out in Matte necessary. At the same time, the terrible component of the naturalistic nature of the murders on the screen is combined in Larsa with surprising irony to what is happening. Probably, almost all of the episodes can cause a smile, because Von Trier kills not frowning, but with a share of sincere black humor. Uma Thurman will not let you lie that irony is in the forefront here, and Riley Keough will clearly add lightness to the audience's acceptance of her as a victim. Himself Von Trier laughs at everything, but never crosses the line of absurdity, skillfully balancing both on the mundane gloominess of everyday life, where no one wants to help and hear a loud cry for help, and on humor, which allows you to perceive what is happening a little easier, and on deeper reasoning , which is probably the most important detail here.
The latter is the main unifying factor in Jack's stories. Each of the stages of the transformation of a maniac is interconnected by him ( read: Von Trier) reasoning about the eternal, mundane or the simplest. Jack will have time to talk with the viewer about everything that gnaws at his insides: talk about art as such; beauty in death, comparable to grapes, where Von Trier moves on to the educational part, teaching the viewer new facts, perhaps better than many universities; conversations about the family on the example of deer and attempts to be human; about heaven and hell, their merging; well, and, of course, about the characteristics of their victims and the biggest and most significant reasoning about the creator and his material. Throughout the tape, Jack, as a creator, is looking for the perfect material to build his house. Each of his creations, as a real engineer who wants to be an architect, Jack does not like, each is being demolished. Through a series of crimes and discussions about the great, Jack will try to find the very material that will make it possible to erect the desired strong structure. And, at the time of his terrifying creativity, the material Jack is looking for will be no less peculiar, since it is the most important element not so much for the house as for himself. And as soon as the building is created, then it doesn’t matter much whether the sirens are nearby or the freezer, further at least, like Dante, with Virgil together in all the circles of hell. What is there that Jack hasn't seen?
Maybe see " The house that Jack built"It is necessary not just for the sake of the desire to test yourself, but for the sake of the amazing ability of the film to combine everything and be yourself, thereby continuing to amaze the already spellbound viewer. It's obvious to fully understand Von Trier it will be difficult: he shocks, stuns, criticizes and laughs, and suddenly shows his own films. The viewer is not so important to him, as much as he wants to embody what he has thought up on the screen. From this and conducts Von Trier audience through hell on earth to the real hell, because in his head it cannot be otherwise. With such a detail, the viewer may remain dissatisfied with the result. From the cruel reality we pass to the impressive metaphor. Certainly, Von Trier would not be himself, leaving the audience easier than planned. It's not for Larsa . However, the epilogue, which continues to drag on too long, does not seem to fall out of the general spirit of the tape at all, because behind the shown inhumanity of consciousness, the search for the darkest fiery depths will not be something abnormal, but will be a completely consequential consequence. as an author, Von Trier one can admire, if not be frightened, especially when the house he built so amazingly brightly managed to leave the audience indifferent. Strikingly against the backdrop of inhumanity Von Trier manages to appeal to the humanity of the viewer, who, in theory, through the unpleasant tingling from what he sees, understands the disgust of what is happening on the screen, realizing the consequences of inaction at the right time. Although about such an influence on the minds of the audience, again, he himself Lars may not have thought about it. Strikingly, repelling the realism of horrors without rivers of blood, he manages to bewitch with this, causing a storm of questions in enthusiastic minds. It's amazing how Von Trier managed to create a cinematic creation by making it so naturalistic. And it is no less amazing how, with all the details that were happening on the screen, I didn’t want to close my eyes at all, and I don’t want to forget about what I saw, even more so. Undoubtedly, " The house that Jack built» the film is amazing, which cannot and should not leave you indifferent. Scold Von Trier or praise it doesn’t really matter, because after watching it they will definitely talk about it. And somewhere far, far away in a small house erected from amazing materials, a strange architect will sit and listen, continuing to immerse everyone in places where they never want to be, but continue to plunge with pleasure. And this, probably, can only be a true creator.
SCENARIO
game literary program
“Here is the house that Marshak built”
(to the anniversary of the writer)
Developed by: Methodist,
teacher additional education
Eliseeva S.B.
Decoration and equipment: on the stage, the necessary scenery, props, in the hall there is an exhibition of children's drawings based on the books of S.Ya. Marshak and the author's books, an interactive whiteboard and a computer for demonstrating films, slides, musical equipment, microphones.
The music sounds, the presenter comes out
Hello guys, hello adults. We have gathered in this hall not on occasion, but on occasion. And we have a wonderful occasion, but first ....
The phonogram of the beginning of the fairy tale "Cat's House" sounds
Probably, in our hall today, as well as in our entire country, there are few people who are unfamiliar with these lines, did you find out ...? That's right, "Cat's House" is a fairy tale. And the name of the author of these lines is Samuil Yakovlevich Marshak. The lines written by this wonderful writer are most often the very first poetic lines in our lives, we heard them and many others from early childhood. All childhood and adolescence are accompanied by the works of Marshak. This year children's writer- 125 years from the date of birth. This was the reason to gather here and remember his work.
Marshak lived a long and interesting life, and everyone who knew Marshak said that this name itself is the personification of kindness, warmth, sincerity. All his works are confirmation of these reviews.
The main readers of S.Ya. Marshak are children, he was very fond of children, Marshak himself was proud that his reader was a growing person:
My reader of a special kind:
He knows how to walk under the table.
But I'm glad to know that I know
With a reader of the year 2000. (From the memoirs of S.Ya. Marshak)
(There is a portrait on the interactive whiteboard, then slides of photographs from Marshak's life.)
Where does the writer get such a desire to write for children. Write fun, interesting, provocatively. Maybe because the author himself large family parents were often busy at work. So little Samuel had to entertain his brothers and sisters with fairy tales and poems of his own composition. Moreover, Samuil Yakovlevich began to write poetry at the age of four. By the age of eleven he had already written some of the longest poems. Were long years studying in gymnasiums in Ostrogozhsk, St. Petersburg, Yalta and even abroad - in England at the university.
He began his work in children's literature with picture books for young children.
Of course, you are familiar with such books, which received the general name "Children in a Cage." Let's remember them together.
Exercise. Completing the task and checking.
Children are offered cards where verses from this book are printed on the right, and pictures of animals about which verses are on the left. Task: connect pictures and text with arrows.
(Properly done work on the interactive whiteboard.)
Leading: In order to write so funny for children, the writer must have a wonderful talent - a talent for loving children, a talent for understanding a child's soul.
(Marshak's words are on the interactive whiteboard. The presenter reads them.)
“I developed an interest in children long before I began to write books for them; for no practical purpose, I visited Petersburg primary schools and shelters, loved to invent fantastic and funny stories, enthusiastically took part in their games”
Well, what a game without counting rhymes, and because S.Ya. Marshak was a very cheerful person and loved children very much, so he tried to create funny works. He came up with funny and funny counting rhymes for children:
One of them you know for sure. Let's remember her.
(On the interactive whiteboard illustrations for Marshak's counting rhymes.)
Exercise. Execution and verification.
Children are offered a tex counting rhyme with missing words. Task: insert words.
And now who can tell the other rhymes of the writer.
Children tell
(On the interactive board are children's and family photos of Marshak, pictures of his meetings with children and speeches in front of a children's audience.)
S.Ya. Marshak was very worried about the problems of children, in his years of life he was in charge of the department public education section of orphanages and colonies, which are organized a large number of, after all, devastation, hunger and homelessness among children reigned in the country. Ragged, hungry orphans spent the night at railway stations, and little thieves snooped around the bazaars. It was the 20s of the 20th century, the time civil war. For such disadvantaged children, orphanages, colonies and shelters are being organized throughout the country. But the children had not only to be washed, clothed and fed, they had to be educated and brought up so that they would grow up not as criminals and lazy people, but as normal people. But first they need to be interested, and so that the children would not be bored in learning, Marshak composed a cheerful alphabet and counting.
(On interactive whiteboard illustration.)
Dramatization of poems: "Punctuation Marks", "Cheerful Account"
Leading: Yes, such literacy and arithmetic lessons are a pleasure! But Samuil Yakovlevich wanted the children to be not only literate, but also quick-witted, attentive, observant. I thought that a good assistant in this is a mystery. Let me guess riddles created by the writer.
He makes noise in the field and in the garden,
But it doesn't get into the house.
And I'm not going anywhere
As long as he goes. (Rain)
What is in front of us:
Two shafts behind the ears
In front of the wheel
And the nurse on the nose? (Glasses)
We always walk together
Similar as brothers.
We are at dinner - under the table,
And at night - under the bed. (Slippers)
They beat him with a hand and a stick.
Nobody feels sorry for him.
Why are they beating the poor guy?
And for the fact that he is inflated! (Ball)
Ask me
How I work
around the axis
I spin mine. (Wheel)
Its spring and summer
We saw dressed.
And in the fall from the poor thing
They ripped off all the shirts.
But winter blizzards
They dressed him in furs. (trees)
Behind the glass door
Someone's heart is beating
Quiet so
Quiet so. (Watch)
Blue house at the gate.
Guess who lives in it.
The door is narrow under the roof -
Not for a squirrel, not for a mouse,
Not for the spring tenant,
Talking starling.
News is flying in through this door
They spend half an hour together.
The news does not stay for a long time -
They fly in all directions (Mailbox)
She got down to business
She screamed and sang.
Ate, ate Oak, oak,
Broke a tooth. tooth.(Saw)
Was green, small,
Then I became scarlet.
I turned black in the sun
And now I'm ripe.
Holding on to a cane,
I've been waiting for you for a long time.
You eat me and the bone
Zaroy in your garden. (Cherry)
Under New Year he came to the house
Such a ruddy fat man.
But every day he lost weight
And finally completely disappeared. (Calendar)
In Linen Country
Along the River Bed
The ship is sailing
Back, then forward.
And behind him such a smooth surface -
Not a wrinkle to be seen! (Iron)
In a snowy field along the way
My one-legged horse rushes
And for many, many years
Leaves a black mark. (Feather)
I just keep walking
And if I do, I will fall. (Bike)
Though he did not leave for a moment
you from the day you were born
You didn't see his face
But only reflections. (you yourself)
Standing in the garden among the pond
A column of silver water. (Fountain)
In the hut - Hut,
On the hut - Pipe.
I lit a torch
Put it on the threshold
Noisy in the hut
Buzzed in the pipe.
People see the flame
And it doesn't extinguish. (Bake)
Here is a green mountain
It has a deep hole.
What a miracle! What a miracle!
Someone ran out of there
On wheels and with a pipe,
The tail drags behind itself. (Locomotive)
From the dungeon a hundred sisters
Released into space
Take them carefully
Rub your head against the wall
Strike deftly once and twice -
The head will light up. (Matches)
But of course, the main thing in the writer's work is poetry and fairy tales: funny, touching, funny, instructive, simple, but with great meaning, serious, but filled with humor - such that everyone, both children and adults, can like.
Children are invited to guess from which works the lines
(interactive whiteboard illustration )
“A mouse sang in a mink at night:
- Sleep, little mouse, shut up!
I will give you a bread crust
And a candle stub.
(“The Tale of the Silly Mouse.” Children explain the meaning of the tale in the form of an interview.)
“Instead of a hat on the go, he put on a frying pan.
Instead of boots, he pulled gloves on his heels ... "
("That's how absent-minded")
"Firemen are looking for
Looking for the police
Looking for photographers in our capital,
Looking for a long time, but can not find
A guy in his twenties."
(“The story of an unknown hero”)
“Here is the house that Jack built.
And this is wheat, which is stored in a dark closet ... "
("The house that Jack built"
“The lady checked in the luggage
Sofa,
Suitcase,
bag,
picture,
Kozin,
Cardboard
And a little dog"
("Baggage")(on the interactive whiteboard illustration)
Dramatization of the poem "Baggage"
Presenter 1. Samuil Yakovlevich Marshak was an unusually educated person . He translated into Russian, knowing perfectly foreign languages, works by R. Burns, and W. Shakespeare, and children's books by D. Rodari, and L. Carroll, and R. Kipling, and for the little ones he translated funny rhymes from folk English poetry.
(On the interactive whiteboard illustrations of books.)
Lead assistants:
"Humpty Dumpty
Sat on the wall
Humpty Dumpty
Fell off in a dream.
All royal cavalry
All the king's men
Can't Chatter, can't Humpty,
Humpty,
Gather Humpty Dumpty!”
From any of his works you can make a real performance, be it great work. Or a short poem.
Dramatization of poems
- Lisaveta, hello!
How are you, toothy?
- Nothing is going on.
The head is still intact.
- Where have you been?
- On the market.
– What did you buy?
- Pigs.
- How much did you take?
- Wool tuft,
Ripped right side
Tail bitten off in a fight!
- Who gnawed?
- Dogs!
- Are you full, dear kumanek?
- Barely dragged his legs!
(“About one student and six units”, an excerpt, illustration on an interactive whiteboard.)
Leading: Yes, S.Ya. Marshak was and is an excellent children's playwright. He believed that the theater was an excellent educator of young spectators and therefore wrote more than one play that was successfully staged, staged and will be staged in children's theaters.
“Teremok”, “Cat's House”, “Smart Things”, “To be afraid of grief - not to see happiness”, “Twelve months”.
Based on these plays, both cartoons and feature films were shot.
(An excerpt from the film-fairy tale “Twelve Months” is shown on the interactive whiteboard.)
Leading: And Marshak's plays never get old. They still live on the school stage to this day.
(A mini-performance based on Marshak's play "Cat's House" or "The Goat and the Seven Wolves")
Great about verses:
Poetry is like painting: one work will captivate you more if you look at it closely, and another if you move further away.
Little cutesy poems irritate the nerves more than the creak of unoiled wheels.
The most valuable thing in life and in poetry is that which has broken.
Marina Tsvetaeva
Of all the arts, poetry is most tempted to replace its own idiosyncratic beauty with stolen glitter.
Humboldt W.
Poems succeed if they are created with spiritual clarity.
The writing of poetry is closer to worship than is commonly believed.
If only you knew from what rubbish Poems grow without shame... Like a dandelion near a fence, Like burdocks and quinoa.
A. A. Akhmatova
Poetry is not in verses alone: it is spilled everywhere, it is around us. Take a look at these trees, at this sky - beauty and life breathe from everywhere, and where there is beauty and life, there is poetry.
I. S. Turgenev
For many people, writing poetry is a growing pain of the mind.
G. Lichtenberg
A beautiful verse is like a bow drawn through the sonorous fibers of our being. Not our own - our thoughts make the poet sing inside us. Telling us about the woman he loves, he delightfully awakens in our souls our love and our sorrow. He is a wizard. Understanding him, we become poets like him.
Where graceful verses flow, there is no place for vainglory.
Murasaki Shikibu
I turn to Russian versification. I think that over time we will turn to blank verse. There are too few rhymes in Russian. One calls the other. The flame inevitably drags the stone behind it. Because of the feeling, art certainly peeps out. Who is not tired of love and blood, difficult and wonderful, faithful and hypocritical, and so on.
Alexander Sergeevich Pushkin
- ... Are your poems good, tell yourself?
- Monstrous! Ivan suddenly said boldly and frankly.
- Do not write anymore! the visitor asked pleadingly.
I promise and I swear! - solemnly said Ivan ...
Mikhail Afanasyevich Bulgakov. "Master and Margarita"
We all write poetry; poets differ from the rest only in that they write them with words.
John Fowles. "The French Lieutenant's Mistress"
Every poem is a veil stretched out on the points of a few words. These words shine like stars, because of them the poem exists.
Alexander Alexandrovich Blok
The poets of antiquity, unlike modern ones, rarely wrote more than a dozen poems during their long lives. It is understandable: they were all excellent magicians and did not like to waste themselves on trifles. Therefore, behind every poetic work of those times, a whole Universe is certainly hidden, filled with miracles - often dangerous for someone who inadvertently wakes dormant lines.
Max Fry. "The Talking Dead"
To one of my clumsy hippos-poems, I attached such a heavenly tail: ...
Mayakovsky! Your poems do not warm, do not excite, do not infect!
- My poems are not a stove, not a sea and not a plague!
Vladimir Vladimirovich Mayakovsky
Poems are our inner music, clothed in words, permeated with thin strings of meanings and dreams, and therefore drive away critics. They are but miserable drinkers of poetry. What can a critic say about the depths of your soul? Don't let his vulgar groping hands in there. Let the verses seem to him an absurd lowing, a chaotic jumble of words. For us, this is a song of freedom from tedious reason, a glorious song that sounds on the snow-white slopes of our amazing soul.
Boris Krieger. "A Thousand Lives"
Poems are the thrill of the heart, the excitement of the soul and tears. And tears are nothing but pure poetry who rejected the word.
Criticism of Lars Von Trier's The House That Jack Built
Never before (and it was watched a lot), I have not seen so many people leaving the cinema hall. As a rule, such a fate befalls mournful, low-budget and, therefore, low-rated films. Here is something completely different the level of violence is going through the roof. Super cruel. So much so that it can, according to many, go beyond the "normal" perception. Someone will even say “ban on mass rental”. By the way, in the era of fashion for censorship in the field of art, it is strange that so far one of the Duma functionaries has not come up with such an initiative with a wording like "propaganda of violence."
Those who are more or less familiar with the work of the Danish film director know that he is outstanding, and his works are the most real examples of art in cinema. And The House That Jack Built is no exception. But, in order.
The central place is occupied by the story of the serial killer Jack. The main character has a whole range of psychopathic disorders. The narration is conducted in dialogue with a certain "Verge". Given Jack's imbalance, the viewer assumes that Verge is a psychiatrist.
The storyline is built sequentially and is divided into 5 "incidents". They are called incidents due to the fact that even well-planned murders are not committed according to a predetermined scenario. Lars demonstrates to the viewer how any phenomenon that occurs within the boundaries of our world is subject to an endless number of uncontrollable derivative accidents: whether it is a bout of borderline disorder of the killer himself, forcing him to return to the scene of the crime to wash up blood that is not really there; or even spontaneous natural phenomena. From those accidents that bring people together in space and time, to those that create or destroy material traces.
In the course of the story, Jack's personality, his views on life and its arrangement are revealed. Most of the picture is filled with comical and grotesque devices around situations about the interaction of the protagonist and other characters, preparing for crimes, committing them and eliminating evidence. Attention is focused on manic pedantry and this also gives a certain flavor.
Simultaneously with the house, the director with references to the brilliant pianist makes us understand that Jack treats his business as an art.
The "offscreen psychiatrist" listens attentively to his "patient", sometimes responding with sarcasm with barely traced notes of condemnation.
Von Trier shows the scenes of murders in detail, colorfully and as detailed as possible, including children (!).
After each scene, several spectators leave the hall.
In the final part of the picture, the camera work is completely transformed, the style changes. Moods in the spirit of Bosch's subjects prevail.
What happened to us, to those who stayed until the end. What, as they say, the artist, great and unique, wanted to show.
Taking a look at the "canvas" in its entirety:
The first 1.5 hours are made in the style familiar to the viewer. A movie about a killer is like a movie about a killer. Excessive cruelty and even some senselessness of what is happening. Almost anyone will say that the patience to watch it should be rewarded. Trier did not disappoint.
From a certain point on, human cruelty as a phenomenon becomes the key theme of the film. Namely, the most terrible crime in world history - the mass genocide of peoples during the Second World War. The theme of the concentration camp intersects with Goethe's Faust, and the criminal finds the outcome in Dante's "circles".
Literally in the second incident, Jack confesses to Verge that he sees some kind of Conduct that accompanies him, allowing him to go unpunished. The theme of "divine" stretches as a thin thread from the beginning to the final credits. The director, with his techniques, shows the futility of the serial killer's attempts to succeed, "overtake" Hitler and his henchmen - to succeed in building an ideal "house". Even mass crimes committed with particular sophisticated cruelty pale against the backdrop of the extermination of entire ethnic groups by the Nazis. Von Trier belittles the protagonist not only by the quality and quantity of murders, but also by the nature of their deeds - weak-willed, essentially unconscious, based on mental disorders.
Lars von Trier has created a masterpiece of art while making an elegant nod to the named writers and Dutch genre scene artists. It will certainly make you think and reason, argue and prove. Emphasizes the indisputability of the existence of evil and the impossibility of the existence of heaven without hell. God without the devil.
Can art be so cruel? If our world is cruel.
