The Boss of It All (2006)

Even when trying to make a frivolous film, Lars Von Trier still makes a minor classic, swimming in themes of pretension and acting, wanting to be liked, the hierarchies of power, exploitation, and cinematic comedy itself. A man who owns a company, w...(read more)ants to sell up, but in is a bind, because he created an imaginary president to take the blame for all stern management decisions, and now his buyer will only speak with the president. He hires an incredibly pretentious actor to do the one time gig, but things go wrong when he accidentally introduces himself to the employees, and has to spend a week riding out the role, till the deal is complete.

There's narration in the opening of the movie about this being a an attempt to make a non-political comedy(it fails), that pokes fun at "artsy -fartsy culture"(success)" and that alone was enough to make me want to stop. But this is the trick of all films by this guy, their grueling at times, but also strangely magnetic, and the end is always, always worth the wait, and there's no difference h ere.

The "Automotovision" is a bit distracting at first, but I forgot it was there for the most part, all of the actors, two from another Trier film "The Idiots", and Iben Hjejle (of High Fidelity), give great performances. Though Trier makes plenty of use of location changes, at ironic times, the cinema, the Mary go round, etc.

Iben Hjejle at one point says "life's like a dogma film, it's hard to hear the words sometimes but there still there", and that's an example of Trier's self mockery as much, as a good rule for viewing the movie in general, don't mind the camera, keep an eye of the characters. Enormously entertaining, and maybe brilliant.

Fmovies: Finally a breath of fresh air, after being let down by several of the long awaited features of my favorite directors (such as INLAND EMPIRE and The Fountain, both of which were good but not adequate considering the directors) von Trier delivers.

After the heavy handed Manderlay and Dogville von Trier decided he needed to take a "dogme pill" to recharge his batteries and what we have is this fine gem. While this is a comedy it is a very different kind of comedy, it is a self aware comedy but even more than that it is a comedy that is also willing to take on more abstract concepts.

Just like the late Ingmar Bergman, von Trier has a real knack for comedy even though he hardly goes in that direction. The basic premise of the film is that an actor is hired on as a fictional boss, conjured up by the real boss who wanted someone to hide behind. What adds a fine twist to that is that most of the employees feel that they know the boss to some degree because they have received letters and emails from him throughout the companies history, leading to some very funny situations.

What I love about von Trier's films is that they do not ask permission, and they do not apologize for being what they are. Von Trier is a bold artist and is the only consistently brilliant filmmaker working today.

Lars von Trier's Danish-language comedy. It never interested me much, though I used to love von Trier (despite always acknowledging his numerous flaws). And it is definitely one of his least good films. If we ever find ourselves looking back at his career in the distant future, this one will not be mentioned much. It's about an out-of-work actor (Jens Albinus) who is hired by a company's CEO who is pretending only to be that company's lead lawyer (Peter Gantzler) to impersonate the mythical, unseen "boss of it all". Gantzler plans to sell off the company, as well as his employee's patents, to an Icelander (played by Children of Nature's director, Friðrik Þór Friðriksson), but he doesn't want to be identified as the guilty party, instead setting up this patsy to take the blame from his crazy co-workers (among whom is Iben Hjejle, whom you may remember from Stephen Frear's High Fidelity). The film is moderately amusing. Though many people seem to think von Trier's oeuvre consists mostly of tragedies, his work is more often darkly comic. The Boss of It All isn't nearly his funniest work. The Kingdom and The Idiots are both funnier, as is arguably Europa. Friðrik Þór Friðriksson actually provides most of the film's laughs as the thunderous, Dane-hating Icelander, recalling Ernst-Hugo Järegård's Dane-hating Swede from The Kingdom. But still, The Boss of It All is good, even if it will eventually just be a footnote.

The Boss of It All fmovies. Lars von Trier has done a modern comedy that gives (me) associations to the plays of the Norwegian-Danish comedy writer Ludvig Holberg (1684-1754). Even if it is a comedy and Lars von Trier himself in the start of the movie tells we can lean back and enjoy being entertained, the film has a message that - if you are open to it - will give you something to think about regarding moral and ethics. Like all good movies this has a surprisingly ending. "The Boss of it all" has divided the audience in Denmark in 2 groups – a group who absolutely dislikes the movie and a group which is rather enchanted with it. As you can understand I belong to the last group.

What a wonderful surprise this film was! I never expected a pretty straightforward satire from von Trier and Dogme, but I certainly got it. The plot sounds well-used and obvious but the way it was transferred to a Scandinavian IT culture, the distanced approach to character writing, improvisation, and superb acting and direction made it a great comedy. On reflection, what was really hilarious was the massively over-inflated self-importance of each and every character. Ali G. and Borat could learn a few things from these Danes (and one very irate Icelander).

As the end credits voice-over said, "Apologies to those who expected more, and to those who expected less. The others got what they deserved". I was glad to be one of the others.

This will be a little hard to understand, for those who are not familiar with Scandinavian office culture and enterprise democracy. For those who are, it's funny.

The unemployed actor gets a job. He's supposed to act as executive, during some sensitive business with an Icelandic buyer. It doesn't develop like he has imagined, but in fact it doesn't develop like anyone has imagined.

There's lots of kicking here in every direction and not at least against cultural snobbism. It's von Trier back to the basics, but not that easy to grip for people outside a Scandinavian environment.