In the various script drafts analyzed by Danish film professor Peter Schepelern, the sexual fantasies exchanged between the couple (Bess and Jan in the film, played by Emily Watson and Stellan Skarsgaard) after the man’s accident were more sustained, extreme, and specific than in the finished film. 10th 1991, the woman, named Caroline, is much more aggressive and enthusiastic than Bess, pressing her paralyzed husband to divulge his most debauched fantasies so she can act them out. Von Trier wasn’t indulging in pornography to turn people on — the basest but perhaps most honest motivation — but rather was depicting the spiritual degradation of a woman who had the emotional development of a child, and subjecting her to depraved sex was just a means to an end. And just maybe also in the view of Helena Bonham Carter, who originally had been cast to play Bess but suddenly left the set just before shooting was to start, reportedly because of the sex scenes.
In a subsequent draft penned on July 16th 1992, Schepelern notes that the sex scenes become more elaborate and take on the character of pornography. The key to von Trier’s attitudes no doubt lies in his upbringing.
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Sure, he included a few brief seconds of hardcore action in his 1998 film, , but to serious students of screen sex, this was employed in the cause of “erotic realism” — not pornography.
These scenes are noteworthy in their specificity and detail, unusual for what was really little more than a treatment, and they also contain a kind of pornographic/voyeuristic quality that never made it into the finished film (or the published script).
In this manuscript, the idiot with exhibitionist tendencies, Nana, played by Trine Michelsen, begins to shed her clothes as soon as Stoffer suggests a gang bang (“Gruppeknaald”).
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The widely admired if polarizing Danish director is the personification of the art-house aesthetic.
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