This is from the Great Grotesque Thing I’m writing, but it has some topical relevance now so I’ll post it. Basically, it’s a reading of the film as Romantic art (with a little Buddhism as well).
Melancholia announces its Romantic intentions immediately. The title itself claims a place alongside the great romantic spiritual laments, like Coleridge’s “Dejection: an Ode,” Shelley’s “Stanzas: Written in Dejection, Near Naples,” and Keats’s great “Ode to Melancholy.” But the film’s true romantic touchstone is a little later in time: the film opens with the ethereal gloom of the overture to Wagner’s Tristan und Isolde.
Who knows what all is down there?
Shya posted something two days ago about James Wood’s How Fiction Works, in which Wood advocates the use of “free indirect style”:
The entire book is built around a concept he calls “free indirect style,” which essentially refers to a prose style for which Gustave Flaubert is largely responsible. One of the hallmarks of this style is that the language is most often experienced by the reader to be that of the book’s narrator or protagonist. Cases, therefore, where a description or word choice does not suit the narrator, and therefor invokes the author, are seen by James Wood as essentially a flaw. Well, at least an inferior style.
A bunch of people posted responses, and I posted a couple of responses, and Shya posted a couple of responses. And then this morning I was going to post yet another response. But then it got long-winded (a weakness of mine), and went off on a few tangents, and then I realized I wanted to embed some pictures and YouTube videos (another weakness). So I made it a post. I made it this post!