Cheap Welcome to the Dollhouse (DVD) (Heather Matarazzo, Christina Brucato) (Todd Solondz) Price

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Customer Reviews of Welcome to the Dollhouse

I now feel a LOT better about my junior high years...
On the social ladder of junior high, Dawn can go no lower. Rejected at school as a loser, she's unable to find any respite from this even at home. Dawn is a middle child sandwiched between her genius-like, computer geek older brother and her incredibly precious, can-do-no-wrong little ballerina sister. Despite the fact that her little sister will immediately make you hate her character, the little actress turned in an excellent performance. I almost felt bad for being happy when the little sister vanishes, but I realized that even though Dawn got her fondest wish, it turns out to be a nightmare. Even when Dawn seems to be winning, she's really just losing more. Dawn gets romantically involved with a class bad-boy, seeking to grab some sort of love or attention any way she can, going so far as to not be threatened by the boy's promise to rape her. She's willing to be a victim just to get some sort of notice. It's an amazing movie, although disturbing at some points, it's pretty true to adolescent life. If you want to see the film before you actually invest in a copy, look for it on the Independent Film Channel or Bravo, as both stations run it quite a lot. It's definitely worth it. Heather Matarazzo is going to be one to watch on the indie movie scene...

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A Painful Pleasure
When I first saw "Welcome to the Dollhouse" in the theater, I had mixed feelings about it. Although I found myself totally immersed in this offbeat story of a pathetic and persecuted girl, I initially questioned whether the movie really had a heart. What truly impressed me was Todd Solondz's frighteningly realistic depiction of junior high. As far as I'm concerned, it would be impossible for a filmmaker to exaggerate the torture of those hellish years, and Solondz really captured the experience to its full extent. What I considered somewhat unrealistic and offputting at the time was the way Dawn's family came across as so uncaring and even malicious. The film is obviously a black comedy, intended for uncomfortable laughs, but it seemed that these characters were so impossibly mean that they risked becoming ugly caricatures that you couldn't take seriously. I came away feeling that I had just witnessed something very intense and moving, yet I also felt the movie was overly preoccupied with its intent to shock and disturb. Since that initial viewing, I have purchased the video and watched it at least five times. With each viewing, I have found more and more truth and resonance in the bleak and hopeless world that Solondz constructed...and have become more and more convinced of its status as a minor masterpiece. Even though there is a lot of over-the-top venom and hostility thrown around in this film, there are also heartbreaking moments of raw and deeply-felt emotion that anyone who has ever wanted to be loved and accepted can surely relate to (in other words, the majority of humankind). One of the most poignant segments is when Dawn dreams that everyone in her life is declaring their love for her, only to wake up to her reality: she is alone and lying on a dirty city street. Then there's always the film's final and most emotionally devastating image of Dawn riding on a bus to Disneyland with her Glee Club. Those last few seconds always give me goosebumps. And don't forget the all-time best movie lines that have become staples among my circle of friends: "Tell your sister you love her!" and "At 3:00, you will be raped." I am now convinced that anyone who is unable to find some value in this movie is either 1) one of the lucky few who was generic enough to make it through those junior high years free of torment or 2) one of the mean and malicious people depicted in the movie who turned the rest of us into a bunch of Dawn Weiners.

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Everybody Runs Away....
Todd Solondz' WELCOME TO THE DOLLHOUSE was one of those films that was "on my list" for many years. I had seen his second film HAPPINESS and was intrigued by Solondz dark dark humor. Why it took me so long to take in another of his films is hard to explain. Every review I had read of DOLLHOUSE praised it (and even some reviewers who literally hated HAPPINESS were oddly touched by this debut film). Perhaps it took me a year or so to summon up enough strength to take another Solondz flick. Now that I think about it, such hesitancy only seems natural. As it turns out, however, biting as it is, DOLLHOUSE is still a heck of a lot easier to watch than its follow-up.

Perhaps it's because as some reviewers here suggest, we all have our own "inner Dawn Wiener." It's easy to identify with this ungainly, hopelessly unpopular teenager--with the awful barrettes and clothes, a brainy older brother, and pertly adorable younger sister. We can all cop to that one pretty much. (If you identify at all with the characters in HAPPINESS, you probably wouldn't want to admit it.) But I honestly don't think that Solondz' intent was to get viewers in touch with their "inner adolescent." He's going after something bigger than that--and more sinister too.

I guess it shouldn't be so surprising that many reviewers here identify with Dawn, but when they start calling the film "realistic," you have to wonder. If there was ever a film that was an exercise in pop SURrealism, this is it.
As a teen alienation flick, I'd rate it right up there with GHOST WORLD, and like that film, it has a distorted, fun-house-mirror quality--that is, I'll grant you, simultaneously more and less real that mere realism. (I guess that's the essence of SURREALISM). Dawn's parents, for example, are little more than cartoon figures--at least until her father has a near nervous breakdown.

And doesn't that reflect a teenage sense of reality even better than sheer realism, after all? Your average teen doesn't see his or her parents as full-fledged human beings. They're way too busy with their own boiling over emotions. Until their parents humanity hits them in the face, kids see them through the looking glass, darkly--if at all.

Which is not to say that either of Dawn's parents becomes remotely sympathetic. Interesting too how in the end, Dawn's two almost-boyfriends have run away to the city. Dawn kinda sorta runs away herself trying to track downr her kidnapped little sister. Seems like anyone with a lick of sense gets out of that town.