Rating: 
Summary: Beautiful...
Review: This film does NOT endorse what it depicts. Obviously, the memebers of the church are misguided, in fact a great deal of the film points that out. But the film is not about them, it is about Bess, and about her love for God and God's love for her. What happens to her in the movie is not God's torture of her, it is human free will being exercised on a pure spirit, and the beauty is how her spirit always remains pure. That is why God loves Bess. God does not sugarcoat the world, and all who wish to follow him go through trials. Bess made it through those trials, and this is, as such, a TRUE CHRISTIAN FILM.Not to mention it is cinematically the best film I have ever seen, as Heilman says, it is transcends words and descriptions. Do not let any review scare you away, if you don't like graphic sex turn it off, but this is a film about the love God has for all the how beautiful a pure spirit is.
Rating:
Summary: Genuinely searing and probing
Review: It's always amusing to see ads for dreck like "Where the Heart Is" and "Here on Earth" with (usually) out-of-context reviewers' quotes promising "sheer emotional power!" and "a more moving experience you won't find on the big screen!" Because the fact of the matter is, calling any of those films "emotional" after "Breaking the Waves" is like calling a firecracker "loud" after an atomic bomb test. It's difficult to believe, but this was Emily Watson's debut performance (taking over after Helena Bonham Carter backed out), and it's impossible to imagine anyone else in the role. The camera's lingering close-ups of her perpetually wide eyes -- always focused, seemingly, on something just out of the view of any other character in the film and, indeed, the audience itself -- recall the best work of Dreyer (to whom the film owes an obvious debt). But the film also has a style all its own, the hand-held camerawork (a direct antecedent of the "Dogme" movement Von Trier would later co-found) giving it the immediacy of a home movie. Coupled with Watson's brilliant performance, only the most cold-hearted viewer cannot help but be moved by the trials of poor, simple Bess. The above description probably makes the film sound like one of those blatant tearjerkers, the kind that makes most folks go "aww!" and the more cynical groan at the obvious sentimentality. And to a certain extent, you're right, but to a greater extent, you're wrong. Bess is, to a large degree, responsible for the fate that befalls her, although her handicap (she's quite obviously mentally retarded in some way, although few reviews and plot synopses seem to mention this) makes it difficult for the viewer to chastise her behavior. Bess is a good-hearted, somewhat naive girl -- barely a woman at all -- who is unable or unwilling to deal with the mitigating circumstances her life takes and retreats into a world of delusion. But is it a delusion? Or is Bess really helping her husband and not just thinking she is? The miracle of "Breaking the Waves" is that it manages to explore faith without ever questioning it (the existence of God is never really in doubt as far as the plot is concerned, in spite of Bess' unstable mental condition). Is believing something enough to make it manifest? This is an important issue in our cynical modern world, yet is so rarely dealt with in cinema. Compare this with the only other recent film to tackle this question -- the middling Steve Martin comedy-drama "Leap of Faith" -- and it's obvious what a treasure "Breaking the Waves" truly is.
Rating:
Summary: Transcendence of Space in "Breaking the Waves"
Review: Lars Von Trier's "Breaking the Waves" may very well be the most important film of the 1990s. Moreover, it is one of the most beautiful and powerful films in all of film history. The film's power derives from the uniqueness of its style. Though many of its techniques and devices are not unprecedented, and have, indeed, become quite common in the many years since the groundbreaking films of Jean-Luc Godard and John Cassavetes used them, "Breaking the Waves" is nonetheless a radical work of representation. The editing and photography of the film is both primitive and yet completely groundbreaking. It owes a debt to the work of another Danish director, Carl Theodore Dreyer, in such films as "The Passion of Joan of Arc," and, especially, "Ordet." Yet it also expands on the possibilities of cinematic syntax in a wholly original way, thus creating a completely transcendent work of art.
By avoiding the dull, static naturalism that characterizes traditional filmmaking, Von Trier restores the utter complexity of life as it is actually lived through the use of shaky, hand-held camera work, jump cuts, and an open, seemingly haphazard approach to composition. It is shot almost entirely in close-up without a single orthodox establishing shot, and cinematographer Robby Muller's camerawork achieves a new intimacy with the actors. The pure expressiveness of their faces and gestures is remarkable. Nevertheless, life in all its abundance simply cannot be completely reproduced on screen. Instead, Von Trier hints at it with loose compositions that suggest an infinite world beyond the simple confines of a rectangular frame. Likewise, the elliptical cutting results in a rapid accumulation of disparate details, which cannot be easily processed. All of this creates a sort of mystery, forcing the audience to acknowledge a world existing beyond the confines of the material represented.
The events of "Breaking the Waves" are condensed mostly into single and two character scenes. The film concerns human instincts of love, faith, and sexual yearning and their repression by society, which is represented in the film by a strict religious sect. The film revolves around Bess, an updated version of the archetype of the Holy Fool. In response to the patriarchal Protestant system, which will not even allow women to speak in church or attend funeral services, she has sought a direct communication with God. Her introverted way of life is complicated by her love for Jan (her new, rugged, oil-rigger husband) and her awakening sensuality. This dichotomy leads to many hardships for Bess and, ultimately, her death. The film depicts a story that is both very specific and exquisitely universal as Bess's torments and faith unfold.
But a mere description of the film's theme and characters is not the focus of this essay. "Breaking the Waves" is about life. It is the film's style, in its adherence to the unfathomable scope of life, which is its content. This style is wholly at odds with that of classical a Hollywood film. The so-called invisible style of those films reduces life to an easily assimilated series of bits in which everything flows through a simple logic of conflict, action, and resolution. The careful compositions exclude that which is not seen as obviously necessary to the storyline. Thus, all life is given a structure of simple meaning at the service of plot. These films are merely escapist fantasy; mass-produced entertainments promoting and servicing the cult of the star.
"Breaking the Waves" carefully avoids these formulaic and formalistic approaches to its material. At first glance, the movie, with its documentary-like style, seems connected to the films of the French New Wave and, especially, the work of its most influential member, Jean-Luc Godard. But while "Breaking the Waves" raises the specter of Godard's greatest works (particularly "Breathless") in its techniques, the effect is quite different.
With Godard, the purpose was to deconstruct the narrative. It was an attempt to empower the audience by giving them a glimpse at the processes used to create specific reactions (as explained by J. Dudley Andrew in "The Major Film Theories"). The editing and camerawork were meant to call attention to themselves, as opposed to "Breaking the Waves," where they transcend their individual powers by no longer being mere tools in an attempt to prove a theory. Instead, they are simply used to present life in its truest state. It becomes impossible for the audience to situate itself or to view the characters from a detached perspective. While the spiraling camera movement and the disorienting editing may reflect the interior world of Bess, it also demonstrates an unwillingness on Von Trier's part to provide the viewer with a simple, constructed presentation of reality which has been taken and used as a convention ever since the days of the proscenium arch.
The situations facing the characters of "Breaking the Waves" are bleak and claustrophobic, but Von Trier's style expressly refuses to reinforce a sense of impotence and doom. The style is consistently one of new perspectives: The 180-degree rule is often violated. Stasis is explicitly rejected. The continuously panning camera movement, exaggerated by the very closeness of the frame, does not permit prediction or simple logic. And this alone seems to open up new possibilities of freedom in the film's isolated and morally constrained setting. This movement also echoes that of the ocean bordering Bess's hamlet, which is an important detail that expands on the larger theme. It seems to suggest that the hope that exists in the world of the film comes from the natural world. Consequently, this linking of the filmic technique and the natural world seems to give the latter a holy significance, and it is this that allows one to see that, in the moral scope of the film, "Religion is accused, but not God," as Von Trier notes to Stig Bjorkman in Sight and Sound.
-- Review by Lucas Brachish & Darius Ebert (this review is being listed on Amazon under agreement with the original publisher, the blogspot CelebrityCola, and in conjunction with a Creative Commons License, which allows for material to be published on any website so long as the original authors and site are credited)
Rating: 
Summary: brilliant at times but deeply flawed
Review: (spoilers ahead)
This film is great at the beginning: the scenes at the wedding in particular, and the first half of the film in general are amazing to behold.
Yet there were several flaws throughout the movie that are worth pointing out:
1) The film juxtaposes the genuine religious faith of young and naive woman, Bess, with the bigoted and zombie-like attitude of the religious community of which she is a member (e.g. at two points in the movie the community buries a former worshipper with the not-so-Christlike eulogy "he/she is a sinner and is going to hell where he/she belongs.") At best, the portrayal of the religious community here is a grossly misleading caricature that does little to shed light on the nature of organized religious worship. One should beware of such one-sided portrayals and the false dichotomies they encourage, especially when it comes to something as complex as religious faith.
2) During his hospitalization the husband, Jan, eggs Bess on in a way that is undoubtedly evil. Yet the implications of his actions are never developed in the film, and there he is at the end, portrayed sympathetically it seemed to me, as if he had never done the things which contribute to Bess' death. Maybe I missed something here, but this aspect of the plot appeared to be half-finished and unsure of itself.
3) The ending is a sort of "deus ex machina", and as such left a bad taste in my mouth. While praising the religiously motivated goodness of Bess, the preceding movie seemed to be entirely sympathetic to the secular point of view (such as that of the doctor and the nurse). Yet it ends with a miracle? This was strange and unconvincing.
All in all, the movie had superb cinematography, as well as one of the best performances I've ever seen by the lead actress Emily Watson--yet the message is wavering and confused. Enjoy this movie for the former two counts.
Rating:
Summary: The Passion of Bess
Review: I dont give 5 star ratings here much. This is one of a few Ive given. This is perhaps Lars Von Triers best masterpiece. It is the best example (in film) about the gospel of love. Forget the Passion of the Christ, this movie, more than that one by Gibson, best exemplifies the words caritas and agape. It is as if Von Trier took the first book, 13th chapter of Corinthians in the New Testament and built a film around it. Bess is a living saint, and in the end beatified.
It is the finest example of love in cinema. Now buy it and see it.
Rating:
Summary: outstanding, great, unbelievable etc etc !!!!
Review: one of the best movies of all times... so touching, so moving, heartbreaking and sad sometimes,,, actually i can't write well enough to describe my feelings about this movie. u really have to see this one if u love cinema and see cinema as one of the best forms of art in general. Lars von Trier, director of great movies like this one so far, is a gift of God or creation or cosmos (whatever) to the world and humanity. i think this has been still his best movie so far and i guess only "Dogville" got really close to this one in terms of greatness... Emily Watson is unbelievable in the movie, what a great actress, what a great way of acting... the soundtrack of the movie is also great!!!!
highly recommended to the ones who love cinema and to see really good and unforgettable movies...
forever love & cinema
Rating:
Summary: Astounding, Just Astounding
Review: Some 2 1/2 hour movies seem to take forever; this one seemed to be over in 10 minutes. What an astounding movie. Acting, location, story, acting again...everything combined to make a perfect package. At the end of the movie I was so moved, I was speechless. One of those movies you keep thinking about, but almost don't want to watch again because you know what's going to happen. A movie for the sentimental, the broad-minded, and those who appreciate very, very fine cinema. Watch it and you'll see what I mean.
Rating:
Summary: one of the best Cannes winners
Review: A very moving film on true religion: unconditional love.
Jan loves that slightly mentally retarded but attractive and lovable young lady Bess, also he is very interested in sex. Bess warm-heartedly loves him so much back, disregarding all the obstacles his profession implies working away on an oil platform for long times. Both are strong in their trust in each other, they do not bother about arrogant hypocrits being envious of their innocent happiness.
Then after an accident which leaves Jan in bed paralyzed probably for the rest of his life, Bess does not leave him, though he is rather rude in his depression.
He begs her to have sex with others, so that he can accept her staying with him as he cannot satisfy her in that respect anymore, sex being so important in his male imagination and self esteem, not so much for her, however. First she does not feel it necessary. Then, just for him, she really gives her body away, playing prostitute, a sacrifice for her love to him, telling him about her adventures, so that he can live that lost part of life in his imagination.
But being prostitute is tough and dangerous, she gets hurt, but still works on, though in the end she is even killed.
"Nobody has more love as someone who gives his life for a fellowman". This is the heart of religion, not living strict man-made rules that strangle soul and body alike, but believing in love, so that heaven touches earth, simple people may be transformed into something greater, which violence and death cannot stop (and thus leave me crying...-)
Rating:
Summary: Terrific acting! (major spoilers)
Review: The mentally challenged Bess McNeil lives in a remote and very religious part of Scotland. She decides to marry 'outsider' Jan, who works on an oil rig. They live quite happily for a few weeks and then Jan has to get back to work. He suffers serious injuries after an accident on the oil rig and is almost completely paralyzed. Bess thinks she's responsible for this, because she asked god to bring Jan home. Jan's condition gets worse and worse and he asks Bess to find another man to make love to. Bess, who's willing to do anything for Jan, starts looking for sexual encounters and comes back to Jan to tell the stories. She thinks this will help him get better. In the end she goes to work as a prostitute on a big ship and the second time she goes there, she is attacked and severely injured. She dies in the hospital after seeing Jan a final time. From this moment on Jan recovers and at the end of the film, he's almost able to walk by himself again!
This is the story of a young, not too bright woman who gets married to Jan. She's crazily in love with him and willing to anything he asks. When she asks God to send him home, Jan gets an accident on the rig and is hospitalized. Bess feels this is her fault and she tries anything to make things right. She talks with God (he really talks back!) about what to do. Jan asks her to engage on sexual encounters and tell him the stories, because he can't make love to her anymore. This way, it seems like they can still be together. This eventually leads to Bess making her final sacrifice. In a strange way, Bess getting herself killed results in Jan recovering from his injuries. The biggest sacrifice you can make, it may remind some of Jesus Christ's sacrifice.
The story is not really my cup of tea, a bit too depressing, but the acting is terrific! Emily Watson gives her best performance so far, especially the parts where she's talking to herself (God) are amazing! Katrin Cartlidge is beautiful as sister-in-law Dodo, constantly protecting Bess. Stellan Skarsgård is also doing a great job as the troubled Jan. The photography is good. Nice shots of Scotland's scenery really give you an idea what it's like to live there. How things work in a religious, stern and somewhat backwards community. The music ís my cup of tea! Elton John, Led Zeppelin and a lot of other (mainly 70's bands). It really tied the story together!
Rating:
Summary: I just wanted a review of the @#$% CD
Review: Any of you morons plan on actually reviewing the CD...?
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