Dogme 95, according to the group of Danish directors who founded the movement, is "a rescue action."
In the spring of 1995, in response to the technological advances which have occurred over the past few decades, these filmmakers signed an agreement known as the "Vow of Chastity." This contract forces the filmmakers to refrain from the use of any relatively advanced technical methods, such as artificial lighting, or any filmmaking device more complex than a household hand-held camera.
In addition, all scenes must be shot on location, in actual geographical areas. No props are allowed unless the object was already present in the space, and no music unless sound was being produced when the scene was filmed. It is hoped that with such rules the final production will resonate with truth, lacking the superficial or "illusory" qualities of modern Hollywood productions.
That being said, I was fairly skeptical when I decided to see the film "Italian for Beginners," the most recent addition to the list of Dogme 95 films. In all honesty, I was expecting either to be nauseated by a jolting hand-held camera, or bored by a documentary-like production.
How would it be possible to recreate the feeling of being swept away by an evocative score or immersed in a world of glamour and epic sunrises with such a spartan film? I was pleasantly surprised, then, when I found myself moved by this endearing movie.
It is the story of six lovelorn and desperate people, brought together in their weekly Italian class. The central character, Andreas, a pastor whose wife recently committed suicide, becomes the confidant of Jorgen Mortensen, a hotel manager troubled by his impotence.
Jorgen is torn between his embarrassment and his desire for Giulia, an Italian waitress who, though seemingly assertive, passively waits and prays for Jorgen to approach her.
The short-tempered Hal-Finn is the owner of the sports restaurant in Jorgen Mortensen's hotel. He amusingly treats his customers as if they were the scum of the earth and becomes romantically involved with Karen, a hairdresser distressed over her demanding, alcoholic mother.
The clumsy, adorable baker Olympia is consoled by Andreas as well, while at home she is abused by her repulsive father.
With three men, three women and a class where they not only learn a language, but also about commitment and love, this charming film borders on romantic comedy.
However, Dogme 95 does not accept "genre" movies. In fact, for all its light-hearted, feel-good moments, there is a tragic element to the plot as well. Several of the characters are united by the deaths of loved ones, and they are all initially brought together because of their yearning for an escape, or for comfort.
Their pain, and eventual rediscovery of joy through each other, creates a realistic portrayal if not of life, of the profit which comes from relations with others. Essentially, each character brings unique insight into the value of personal relationships.
Audience members will find themselves not only moved by this insight, but also sympathizing with every one of these characters. Perhaps this sympathy is due to the remarkable cast — with physical appearances about as far from Hollywood as one can get — who effortlessly capture the spirit of their characters in subtle movements and facial expressions.
Every time Olympia dropped another tray of pastries, every time Giulia begged for Jorgen to glance in her direction and every time the pastor fretted over his next sermon, my heart reached out to them. Their concerns and problems are universal, and will never fail to strike a chord in the audience.
Or perhaps such sympathy is aroused because the audience follows each character's transformation. Despite the death or pain they have each endured, they come to their senses through each other, and their lives are changed for the better.
Upon exiting the theater, the audience feels changed as well; they recognize that even through misery, it is not unreasonable to see the ever-present prospect of happiness ahead. And that thought is truly beautiful and inspiring. Who would think that such feelings could be evoked without a diligently orchestrated score or a single epic sunrise?
If the goal of the Dogme 95 doctrine is to create films which are truthful, "Italian for Beginners" has accomplished this task superbly.
Every theme raised resonates lastingly with the audience, and every moment is infused with tangible emotion. Even critics of Dogme 95 are encouraged to experience the film; if a technically revolutionary Hollywood motion picture stuns you, so can this sparse, Danish film bursting with content and meaning.
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