'Melancholia' an astonishing nightmare

<b>Reel Life mini-review: 'Melancholia'</b>

Lars von Trier's art house Armageddon drama "Melancholia" begins with a rogue planet plowing into the Earth at a zillion miles an hour, reducing both orbs into celestial pixie dust, a destructive act captured in hauntingly slow beauty, accompanied by Richard Wagner's music "Tristan and Isolde."

The rogue planet is called Melancholia, and cinematic metaphors don't come bolder or more literal. Von Trier shows us the bleak ending so we can hold no false hope of a last-minute reprieve by Bruce Willis.

Von Trier wants us to experience the essence of depression, at least artful depression, something he has wrestled with for years. To that end, he turns back the clock on earth, introducing us to two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg) as Justine prepares to marry her oblivious beau Michael (Alexander Skarsgard).

News reports suggest the approaching planet Melancholia might hit Earth, but Justine's arrogant brother-in-law Jack (Kiefer Sutherland) assures her that it won't.

Justine clearly suffers from bouts of depression, and her mood swings send ripple effects into her wedding party and family, among them her matrimonially jaded mother (Charlotte Rampling) and her self-centered dad (John Hurt).

"Melancholia" is an anti-action movie with most of the conflict taking place within and between the characters. The way von Trier sees it, the end of days - at least our days - will happen without much fanfare or warning. It's just another day for people to continue to behave the way they always have, but won't have the opportunity tomorrow.

Von Trier has a history of creating divisive, raw and confrontational movies ("Breaking the Waves," "Antichrist") yet here appears to be mellowing with rage.

Dunst creates magic as Justine, hitting the right melancholy notes while mustering up enough empathy for Justine to keep us vested in her character.

Here's a lucid, waking nightmare of a movie with one of the most astonishing beginning segments ever committed to film.

But just how did Celeste wind up with a French accent? How did Justine get her American accent when her parents are British?

"Melancholia" opens at the Century Centre in Chicago and the Renaissance Place in Highland Park. Rated R for language, nudity and sexual situations. 130 minutes. ★ ★ ★ ½

<b>Congrats, Des Plaines!</b>

It's always a joy when a Northwest suburban movie theater undergoes a $250,000 renovation and reopens for film fans, instead of being sold to make way for another shoe store. Congratulations to the 86-year-old Des Plaines Theatre on its grand reopening this weekend!

To celebrate, here's my favorite Des Plaines Theatre story, and it goes back to 1977 when I participated in a live production at the Des Plaines Theatre Guild across the street from the movie house.

One night I watched as three ambulances converged on the Des Plaines theater. I grabbed my camera and ran over to check out the action. Was it a murder? A patron gone berserk? Mass poisoning?

No. Turns out that two men watching "The Other Side of Midnight" freaked out when they witnessed Marie France-Pisier's controversial bathtub abortion scene. They staggered into the lobby and promptly passed out.

Neither victim of the cinema was seriously injured. Good taste in films, however, took a severe blow.

<b>No 'Immortals' review</b>

Just so you know, Tarsem Singh's 3-D Greek mythology action film "The Immortals" was not screened for critics before Time out! deadlines. And we all know what that means, don't we? It probably means that Mickey Rourke's new movie is closer to "Harley Davidson and the Marlboro Man" than to "The Wrestler."

<b>Hats off to CNGM!</b>

The Palatine-based, not-for-profit independent filmmaker group CNGM Pictures is throwing a fundraiser called "Hats off to Characters." All you have to do is wear your favorite hat when you come to the Cutting Hall Performing Arts Center, 150 E. Wood St., Palatine at 7 p.m. Saturday, Nov. 12.

Raffles, appetizers and drinks (beer and wine) will be offered, along with clips from current CNGM movies in production. Attendees will also get to vote on upcoming projects they'd like to see CNGM filmmakers tackle next. Admission costs $30 at the door. Go to cngmpictures.com.

<b>Define success, please</b>

Box office is no longer the single most important factor in determining a film's overall success.

That's the epiphany offered by Relativity Media head Ryan Kavanaugh at Variety's "Future of Film" summit this week.

Duh, ya think?

Critics have known this for a long time. If box office receipts were the single most important factor in determining a film's success, that would make the greatest movie of 1992, Quentin Tarantino's "Reservoir Dogs," a failure. It mustered a paltry $2.8 million at the box office.

If box office were the single most important factor in determining a film's success, that would make racist movies a "success." And sexist movies a "success." And porn films a "success."

Values - be they moral, artistic or otherwise - also count when assessing whether a movie is a "success." So let's amend Mr. Kavanaugh's statement at the Future of Film summit, shall we?

Money, be it from the box office, video rentals, or from cable and satellite, isn't the single most important factor in determining a film's overall success.

<b>Commit 'Love Crime'</b>

The After Hours Film Society presents Alain Corneau's "Love Crime" at 7:30 p.m. Monday, Nov. 14, at the Tivoli Theater, 5021 Highland Ave., Downers Grove. It's a battle of the wills and wits between two women (Kristin Scott Thomas and Ludivine Sagnier) at a multinational corporation. Tickets cost $9. Go to afterhoursfilmsociety.com.

<i> Daily Herald film critic Dann Gire's column runs Fridays in Time out!</i>