Review for The Kingdom I & II

The Kingdom
(aka: Riget)
1994-1997
Dir: Lars Von Trier


Film

It's perhaps appropriate that Lars Von Trier's seminal Television series, The Kingdom, finally make it's way to DVD in its complete form at this time. Currently, his most recent cinematic exercise, Melancholia, is infuriating and inspiring critics in equal measure. As always however, Von Trier is a director nothing short of fascinating. This earlier entry marks a period in which the director was really coming to international prominence, and managed to create a horror show of sorts in which he could play with many of his obsessions. The Kingdom bears many of the Von Trier hallmarks, but is actually much more palatable than first expected.


Set in Denmark, The Kingdom is actually a hospital in Copenhagen, in which the entire series is set. Helmer (Ernst-Hugo Järegård) is a Swedish neurosurgeon with a few skeletons in his closet. Early on we're introduced to Mrs. Drusse ( Kirsten Rolffes), who sees a ghost of a little girl in the lift shaft. A spiritualist of sorts, she is vitally important to the entire series, faking numerous injuries and illnesses in order to return to the hospital. Dr. Hook, a Junior Doctor and a nemesis of Helmer's, admits her, which draw heat from his senior rival. As events unfold, the feud between the two takes several notable twists and turns. Meanwhile, Hook becomes involved with a female doctor, who is pregnant, possibly with some sort of phantom. These are the more rational, sane aspects of The Kingdom!

   

As the episodes continue, a ghostly ambulance becomes a source of increasing tension, and it is apparent that the building is become a centre for the arrival of increasing numbers of evil and demonic forces.

Running Eight episodes, The Kingdom was intended to climax in a third series. Tragically, due to the unfortunate deaths of several key cast members, including both Ernst-Hugo Järegård and Kirsten Rolffes, this has not came to fruition, and likely never will.

Stephen also loosely adapted the series for his own US project, the intriguing series, Kingdom Hospital in 2004. This version may or may not have included numerous ideas suggested by Von Trier.

Extras
-Selected Scene Commentaries
-Tranceformer: A Portrait of Lars Von Trier
This A fascinating look at the career of Von Trier, with input from countless crew members, and various performers. Obviously, it only extends as far as The Kingdom, but regardless, is a very nice document.
-In Lars Von Trier's Kingdom Documentary
This piece is very much of the same ilk as it's counterpart documentary, taking in Breaking the Waves and offering further illumination into the eccentric director.
-Behind the Scenes: Interviews with Cast and Director
-TV Commercials
A series of bizarre, often amusing TV commercials for a Dutch Newspaper. Expect to be confounded but amused.

Overall, a decent selection, and much better than many televised re-releases from the same period. An example being the absolutely atrocious box-set currently available for American series American   Gothic.




Conclusion

The first thing that is really apparent about The Kingdom is the abysmal picture quality. Although there is an element of age, and an amplified grain down to the material's source, much of the look is also intentional. The series is shot in a wonderfully distinctive Sepia tone, that both helps the piece feel really unique, and ultimately, extremely immersive. While a bit of tidying up could be done, there's something really raw and almost documentary-like about the film's appearance. It's as if we're peeping into a place that we shouldn't. Likewise, a completely exhilarating soundtrack is an assault on the senses.

Perhaps that is the key to The Kingdom's success. It is genuinely an immersive experience unlike few in television. While we've witnessed much great programming in the years since, nothing has approached the unsettling mood and surreal black comedy of Von Trier's films. The closest comparison's I could make for those seeking comparable material are maybe David Lynch's Inland Empire, or Chris Morris' show, Jam. Needless to say, the inherent black comedy in those works, is very much present here.



Poignancy also arises in the most surprising of circumstances, not least in the situation Hook's partner, Judith finds herself, following the birth of her horrifically proportioned baby. It's a stunning development, and excuse the pun- a real hook- for later episodes.

As the show progresses, it seems to really find its groove, building in confidence and taking more explicit risks, amidst the ghostly, creepy shenanigans. The second to last episode features a wondrous exchange between two central characters, that has been built up to from the very start. Needless to say, it is executed in a completely unexpected manner, resulting in what can only be described as a an almost motionless chase sequence.

Performances are uniformly tremendous, from the lead characters such as Helmer, right down to the pair of kitchen workers who narrate the series to a degree. Ernst-Hugo Järegård is utterly tremendous, exhibiting deplorable and loveable characteristics in equal measure. While the show is something of an ensemble piece, his offbeat, selfish routine is often the catalyst for major events, and he really provides a framework on which many of the events are based. Trash-horror icon Udo Kier also shows up in a recurring role both hilarious and deeply disturbing.



As with the equally bizarre Twin Peaks, the story doesn't reach a satisfactory conclusion, and it really helps knowing this going in. The Kingdom was scripted with a further continuation in mind, and like it's predecessor, the result is a climax that leaves more questions than answers. Perhaps though, it's less jarring here, as the show is less reliant on the fate of one particular character, and there isn't a genuine cliff-hanger that almost demands an answer.

Regardless of the outcome, The Kingdom is a hugely impressive series that runs the gamut of emotions. It comes highly recommended.