
After gangster Mulligan's (Willem Dafoe's) cars colony, fleeing northern justice, finds a hiding place in Alabama, spoiled, naive daughter Grace (Bryce Dallas Howard) refuses to travel on after seeing the Manderlay cotton plantation being run under slavery rules, called Mam's (Lauren Bacall's) law, including flogging. She keeps half of dad's goons as guard to force the dying matriarch-owner's heirs, which she shamelessly dispossesses and reduces to "staff", to taste destituti... (Full plot summary below)
Enjoy FREE movies and series with your Prime (USA) subscription or when you start a 30-day free trial!
Links compiled using automated software. Availability of offers subject to change / might be region specific / out of date.
After gangster Mulligan's (Willem Dafoe's) cars colony, fleeing northern justice, finds a hiding place in Alabama, spoiled, naive daughter Grace (Bryce Dallas Howard) refuses to travel on after seeing the Manderlay cotton plantation being run under slavery rules, called Mam's (Lauren Bacall's) law, including flogging. She keeps half of dad's goons as guard to force the dying matriarch-owner's heirs, which she shamelessly dispossesses and reduces to "staff", to taste destitution under absurd, gun-imposed contracts. The "slaves" are made free partners, supposed to vote for progress after lessons from Grace. But almost all of her democracy-pupils prove to be fickle, dumb, and selfish, except old Wilhelm (Danny Glover). Her and their ignorance in Southern planting and crafty Dixie ways means more problems are created then solved. By the time dad returns to pick her up or abandon her for good, she's the one who has learned and changed the most.
Leave your thoughts about Manderlay.
| Montreal Film JournalKevin N. LaforestLesser than Dogville (then again, what isn't?), but still one of the best films of the year. |
| DallasBlack.comKam WilliamsRelying on a daring script as executed by A-list actors, offers a potentially transformational experience for any inclined to contemplate an introspective, gut-wrenching meditation on the intractability of the legacy of slavery. |
| Shadows on the WallRich ClineA slow-burning, deeply disturbing fable that needs to be seen and discussed |
| Entertainment WeeklyOwen GleibermanVon Trier, there's no doubt about it, has become a taxidermist of America's sins, but the way he puts those sins on display only to thumb his nose at them marks him as a new style of prankster-hypocrite. |
| Combustible CelluloidJeffrey M. AndersonIt lacks the thrillingly nuts, outlandish quality of the original, but is also quite a bit more pointed and focused. |
| Film ScoutsJason GorberManderlay is an intellectually invigorating analysis of race, class, power and democracy, all while remaining a thoroughly enjoyable (if harrowing) film. |
| Salt Lake TribuneSean P. MeansThe [plot] degenerates as quickly as von Trier's crude allegory of U.S. foreign policy ... and the pretentiously vacuous Our Town-like staging. |
| Looking CloserJeffrey Overstreet[It] raises interesting questions about what can happen in a democracy when its people are deeply corrupt. ... But likely to be more disheartened than enlightened. |
| eFilmCritic.comRob GonsalvesIf this trilogy finishes up strong, this middle portion may come to be seen as the weakest, though it's still forceful and intimate in the von Trier manner. |
| Paste MagazineRobert DavisIt doesn't offer much insight into America's race issues, which might seem at first to be its target, but it works very well as a metaphor for America's intervention in Iraq. |