Despite all the hullaballoo about its raunchy and sexually explicit content, Lars Von Trier's "Nymphomaniac, Vol. 1" is surprisingly tame, especially when compared to the likes of his own "Antichrist." That's not to say there's no sex to be had; in fact, there's plenty to go around. But the film rests soundly on its storytelling laurels rather than relying upon full-frontal.
What was originally intended to be a five-and-a-half-hour sex romp has been whittled down to a two-part saga totaling four hours altogether. As with most controversial European imports, American audiences are being fed a butchered, watered-down version of Von Trier's original vision. Speaking strictly of "Volume 1," the ending is abruptly forced and seemingly without good reason other than to satisfy the two-part nature of the release.
Censorship aside, "Volume 1" is incredibly enthralling and not for what most adolescent young men (who no doubt will be lined up at the theater) will be anticipating. "Nymphomaniac" is the final piece of work in Von Trier's trio of films that he has aptly dubbed "The Depression Trilogy," along with "Antichrist" and "Melancholia." As part of such, the film focuses on a young woman named Joe who recounts her sexually promiscuous ways and how the decisions in her life have in turn made her into a bad person.
Along with each tale of sexual escapades comes that of extreme misery, loneliness and regret although, while recalling her numerous partners, Joe manages to tell her story in a strangely lighthearted manner. After finding Joe passed out in the middle of the street in what appears to be an accident of sorts, a kind samaritan named Seligman takes her into his home to recuperate. While Joe rests her battered body, the two spark a friendship that consists of Joe discussing her multitude of sins with Seligman and he, in turn, putting things into perspective not unlike that of a confessional routine.
Seligman identifies with the plight of Joe by adapting each one of her stories to something he's passionate about in his own life. There are a slew of witty metaphors strewn throughout, shot in a way that is uniquely Von Trier. At first, Seligman makes comparisons to fly fishing and how the men she attracts are not unlike the fish he catches. The lures, or nymphs, as he calls them, are not unlike that of Joe's sexual prowess at a young age.
As Joe's stories continue, Seligman continues to reassure Joe of her own worth despite her clinical self-loathing. The two trade a series of anecdotes; at one point, Seligman explains his love for Bach and how he encompasses three musical techniques to create a singular sound. Meanwhile, Joe compares herself to the work of Bach, detailing three men who provided her with separate yet unique sexual urges that she demanded as a young woman. The pair are diametrically opposed to one another, and yet both Seligman and Joe share an unspoken rapport.
Unfortunately, "Volume 1" is hindered by its lack of continuation. As soon as the story-telling reaches a peak, it abruptly comes to an end. "Volume 2" is scheduled to come out next weekend, but in all reality the movie shouldn't have been divided to begin with. In anticipation of the conclusion to "Nymphomaniac," there are a number of resolutions remaining to be had. Going with the theme of von Trier's "Depression Triology" thus far, there's assuredly a depressing ending on the horizon, and Seligman and Joe have a lot more ground to cover together.
Here's hoping for a triumphant conclusion to what has been set up to be the best of von Trier's trilogy thus far.