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I love David Lynch. God, do I love David Lynch. Please enjoy my unsolicited opinion about my favorite Lynch films: 1. Lost Highway If you're looking for a good place to get into David's style, this is a good one - although I would recommend Mulholland Drive for that specifically, Lost Highway is definitely a close second. The story is self contained (unlike Fire Walk With Me), but has more of a supernatural bent than Blue Velvet. The only real downside to it is that it's so hard to find a copy that's decent. One of the people in the film was actually accused of murdering his wife in real life, and although he was acquitted, everything I've read seems to imply that this was the reason that it never got a proper DVD release until a few years ago. There was a canadian DVD that was apparently ripped from a VHS - it's garbage. There was another, more recent DVD release that's pretty good. There's a new blu-ray release that didn't come out here but I've read is region free, and I need to get my hands on that because seriously, this movie is beautiful. The swirling darkness of the environments is laid into a backdrop that is somehow simultaneously modern (well, period now) and timeless. The colors are used to incredible effect, especially the red, and Patricia Arquette's look later in the film is practically angelic and the backgrounds contrast with her to amazing effect. It really helps you get into the mindset of a man that puts her on a pedestal - that sees her as angelic despite her...proclivities. It's set in a version of LA that exists outside of time - apart from the few plot important pieces of technology that get used, which do date the film a little. It feels almost like it could have taken place a week ago, or 50 years ago. Whoever David gets to do his warddrobe consistently does an amazing job of choosing fashions that seem modern, but wouldn't seem out of place in a black and white film from the fifties. From Fred's basic black tee and jeans to every single goddamn thing that Renee puts on in the film, to the quasi-greaser look that Pete (and, humorously, Pete's family) adopt. Even Pete's 90's friends somehow don't break the spell. The colors are heavy on the golds and reds, and the locations seem to have a warmth that the characters do not - as though we are getting a glimpse into a world that is fading, with few truly bright spots left in it. It's a world that seems almost in perpetual twilight or full on night, and there could be anything in the shadows.  The plot itself is heavy on that Lynch factor, and the resolution to the film was unlike anything I'd seen in cinema before, and haven't really seen since. The one thing I do tell people that I show the film to is this - if you're gonna watch it, shut up and watch the drat movie. It demands attention the whole way through, literally from the very first line. Lynchian humor does come through in a few spots, though perhaps not to the extent that you'd like if you're a fan of the Twin Peaks TV show. It is disturbing, dark, and really gets in the places in your brain that make you wonder what it is that you just saw. There's only one graphic scene in the whole movie - and it's a blink and you'll miss it kind of deal. It works though, because you get only the slightest glimpse into what (may have) happened, and it's as intensely disturbing for us as it is for Fred. Just like him, we question what we remember and what we saw. 2. Twin Peaks: Fire Walk With Me This is one of my favorite films, and I think I'm probably in the minority when I say that I enjoy it more than the show itself. Probably because David ended up leaving the show, and so it has influence from other people. After the show ended, folks were clamoring for another trip back to the rustic, quirky, offbeat town of Twin Peaks. Well, be careful what you wish for. When it was originally screened at Cannes it was booed, and if you're a fan of the series, it's easy to see why - remember in the last sentence when I said Twin Peaks was rustic, quirky, and offbeat? Well, that was the surface, and underneath was an ugly world. We only saw hints of this world in the series, and I could understand someone saying they preferred that. In this film, David holds your feet to the fire, and you have a front row seat to the horror that was Laura Palmer's life. The fun, lovable supporting cast is basically gone. Laura gets a plotline all her own, one that we'd only pieced together in the actual series. It is unflinchingly presented and it is so far beyond anything that was in the series. Laura has sex, does drugs, and gets killed, on screen. The movie is basically in two parts - a prologue that ties in the (later) FBI investigation into the BOB killings. It's easily my favorite part of the movie. Chris Isaak and The majority of the movie depict the last days of Laura Palmer. It's a view into her life that was only alluded to in the series, and for good reason - Ms. Palmer's escapades are definitely R-rated, and even though you can talk about them on TV, showing them is a whole different ballgame. It is a brutally disturbing look into child abuse, as well. Even with the idea that Leland, well, wasn't quite himself when he did it, what comes across is a very earnest depiction of what that relationship could look like, and it's ugly and frightening. I know that David didn't like the idea of revealing who Laura's killer was in the show, but drat if he didn't take that idea and run with it, and it's incredibly powerful. 3. Inland Empire This is a movie that I usually describe to people as "The Lord of the Rings of crazy people movies." It was made right when Digital filmmaking was coming around (which I think hurts the film visually, as the tech wasn't quite there just yet), and David decided to go whole hog. I don't think he had a lot of restraint for this, and quite frankly, it shows. Supposedly he was writing the script as he went along, with pages of fresh dialogue given to the actors the day of shooting.The plot is messy (even by his standards), and there are a lot of ideas that don't seem to go anywhere, or rather, take the viewer anywhere. It seems like a strange complaint to have about a David Lynch movie, as you essentially watch a Plot fall apart for most of the last 2/3s of the movie, but it just doesn't seem to work in a lot of cases. There are ideas and characters that don't get properly introduced, and it hurts the film overall. It's overly long, as well, and if you get the deluxe DVD edition then there's even MORE stuff that was cut out that you can watch as a sort of featurette on it's own (although it may be feature length, or drat near) if you so choose. So why do I like this movie? Well, despite all it's flaws (and it is quite easily the most flawed of David's films) it is still a heck of a ride at points. Around the 1/3 mark this movie goes off the loving rails, unapologetically, and never ever comes back. The rabbits make a thoroughly disconcerting appearance, and their presence alone is worth the price of admission. At least, if you can find a copy in a dollar movie bin, like I did just recently. The colors and camera work are vivid and dreamlike - although nightmarish might be a better way of putting it. The dialogue and characters are suitably otherworldly, and in many ways this movie does feel like getting caught into an inescapable nightmare. As I said before, when this movie goes nuts it really goes all in. The run time is far, far too long though, and I wouldn't blame anybody for not being able to sit through the whole thing. It can be a slog at points, and the resolution at the end doesn't make up for it. Still, if you're here to see some crazy poo poo (and aren't we all?) then you'll definitely find that here. The films overly simple tagline - "A woman in trouble" - doesn't even scratch the surface of how crazy this movie is.  The rabbits that were part of a mini-series of 'webisodes' (easily the worst portmanteau ever devised, ugh) make an appearance, and these talking rabbits with their bizarre stilted dialogue and out of place laugh track set the bizarre bar for this film really high. Honestly, they're probably my favorite part of the movie. Its like a crazy person's greek chorus. You get the feeling they're telling us about the events of the movie, but there's no real way to know for sure. Honestly, knowing that David wrote the dialogue day to day makes the flaws of this movie...well, understandable probably doesn't have the right connotations that i'm looking for, but I can't think of a better word. Everything feels disjointed because it probably was. Being able to go from page to film in such a short time didn't really help David's process, honestly. Still, there's some interesting scenes in this film, and if you're a fan of the rest of the work then you'll probably at least find the film worth watching once. Full Battle Rattle fucked around with this message at 09:00 on Jan 19, 2015 |
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Jan 19, 2015 08:51
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| # ¿ May 2, 2024 07:59 |
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David Lynch has an incredible way of taking some wacked out characters with the most bizarre, stilted dialogue imaginable come off as more human and three dimensional than the characters in most big budget thrillers. The way people end up delivering lines in his movie often feels more like you're watching a play than a film, and it's always interesting me that he's able to get these performances out of drat near everyone in his movies.
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Jan 20, 2015 02:57
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FWWM was distributed with a note to play the movie slightly louder than usual. David Lynch posted:To: Theatre Projectionists
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Jan 20, 2015 12:17
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I think Leland didn't really mind BOB (or at least his influence) because he enjoyed the dark impulses and the ride that BOB was taking him on. After all, it was probably just a lot of drugs and sex up to that point, and I don't think he was entirely lucid when he was molesting Laura. Laura's the same way - she was riding the lightning without realizing what the inevitable conclusion might be until it was too late. There is an incredible scene where Leland realizes (although maybe not fully) the things that BOB has made him do and he has a breakdown and goes and apologizes to Laura as best as he can. It makes me wonder what the outcome would have been if BOB had taken over her body. Would she have had to kill Leland?
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Jan 20, 2015 20:52
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He wasn't, but his reflection was in one of the shots and David loved it. If I remember right the guy is just like a sound or lighting guy or something, which explains why he dresses like a man who got a 50 dollar gift certificate to a thrift store.
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Jan 20, 2015 22:48
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The Vosgian Beast posted:Is the idea that Fred came up with the Pete Dayton thing as a desperate excuse for his murder? Sure seems like it, Doesn't it? But there's a line when they're investigating the scene: "We've got Pete Dayton's prints all over this place."
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Jan 21, 2015 02:57
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Josef K. Sourdust posted:Just watched Lost Highway on blu-ray. What a beautiful version. The video is very clear and detailed. There is occasional lens flare but as a result of lensing not video issues. The audio is very dynamic. I can't recommend this enough. Which version did you buy/are you european? I've always held off on those new Blu-Ray releases because i'm deathly afraid of buying them and not being able to play them on my PS3.
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Jan 24, 2015 06:07
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FWWM is weird - I feel like watching the show helps your understanding and appreciation of the film, but I like the movie a lot more. I watched the run of TP exactly once, and I watch FWWM all the time. I feel like it's superior to the show but there's a lot of background information about the characters involved that's only explored in the show. Dale Cooper in particular is given next to no characterization in the film, but it's such an important link to what's happening.
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Jan 29, 2015 04:03
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Pops Ghostly posted:Dale Cooper was supposed to play a major part, but he along with the rest of the cast were pissed at Lynch and blamed him for the cancelation of the show. So several of them refused to be a part of it, and Machlachan only agreed to shoot a few scenes. I am aware of this, and in the film he's just popped in like any old FBI agent. Knowing who he is and what he gets into makes those scenes richer. Personally, I don't think having Dale Cooper visit the anti-twin peaks would have been nearly as effective. He would have had to have been more hard nosed and it would have seemed out of character for him. Chet Desmond ended up being a much better idea - I like that he was Gordon Cole's first choice to investigate the BOB killings.
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Jan 29, 2015 04:28
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TrixRabbi posted:Who was it that said the series is from Cooper's perspective of the town as a quaint, cheery place with a hidden darkness. Whereas the film is Laura's view of a dark, horrific place masquerading as a quiet mountain town? That's spot on. And having Cooper be a bigger part in the film than he is probably would have clashed either by brightening up the movie, or making Cooper too serious. That was probably me in my effortpost a few pages back  But yeah, I feel like watching the show increases your ability to enjoy and understand the movie. David Bowie's part was expanded in the movie itself, it just got cut. He bugged out to Argentina, I think, and he got pulled back to the FBI office through the black lodge. He told them what he saw (we get to see a part of it) and then disappears.
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Jan 29, 2015 06:30
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Marshal Radisic posted:Hell, let's not forget Chester Desmond. He has the same intuitive gifts as Dale Cooper, but while Dale loved the world and everything in it, Chester treats everyone he meets with polite contempt and uses his abilities to show his superiority to everyone around him. I don't think he really would have had any contempt for them if they hadn't tried to stonewall his investigation immediately. The officer on duty fucks with him from the get-go. It makes me wonder what Dale Cooper would have done when dealing with law men who were blatantly obstructing justice. Likewise, the woman in the diner doesn't really help him either, but he's still fairly polite regardless. He does kinda gently caress with his partner, but it seems good natured enough. He also gets along and jokes with Harry Dean Stanton, before that abused lady shows up. I still wonder what the function of the ring is, though - it makes Chet Desmond disappear, and he is never seen again - even in the red room, but it somehow aids Laura before she's murdered? Why does Dale tell her not to take it, even though it appears to be the only thing that saves her from getting possessed? I wonder if it'll show up in the new iteration of TP.
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Jan 30, 2015 22:58
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Mulholland Drive is one of his most straightforward, accessible movies.
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Jun 21, 2015 07:37
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Josef K. Sourdust posted:I just watched Blue Velvet on BR and holy moley that film looks beautiful. If you can, check it out on BR. It is something to see. I really want a Blu-Ray copy of Lost Highway. Did that come out in the NA region yet? All of his movies are just so pretty. It's kind of a shame that Inland empire has that early digital look to it, because he was still very much on top of his composition and color work.
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Sep 9, 2015 14:32
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Lord Krangdar posted:Its not all that aesthetically pleasing but the look of Inland Empire, both cheaply blurred and overly sharp at the same time, is how my dreams always actually look. I would re-watch IE more often if it wasn't three hours long. I generally like the look of the film. Hope it isn't his last.
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Sep 11, 2015 14:47
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Inland empire would have worked much better if he'd cut all of his footage into ~45 minute episodes (adding back in the 'more things that happened' featurette as well). It would be like a box set of the world's strangest TV show, which makes more sense given the Axxon N radio drama point. There are a lot of things I love about Inland empire, but it's just so much to view in one sitting.
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Sep 11, 2015 17:00
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david_a posted:Re-watched Mulholland Drive last night. The biggest problem with this movie is that Robert Forster's detective only gets one scene. I kinda wondered why they even left him in the movie; I'm sure he would have been another wonderfully memorable investigative character in the series, but I'm not sure I see the point of the scene as-is in the movie. It's odd and a bit dreamlike so I guess it fits with this part of the movie but other than that I don't understand what it gives you. Mulholland Drive had the same Pilot/Movie deal that TP did, but it didn't pan out. If the ending feels rushed, it's because it kinda is. It collapses a couple of very rich plotlines very neatly. Who knows if the show would have went the same route, I don't know if ABC (I think they put up the money for it) would have went for a Lesbian romance at the center of prime time TV. Club Silencio would have made for a pretty killer season finale. TP:FWWM is amazing and one of my favorite films of all time. I actually prefer it to the show. Anyone else like that?
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Sep 27, 2015 06:59
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I thought IE was genius the first few times I watched it, but it's far too long for one sitting. It would have been better to cut it up into a fake TV show.
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Jan 22, 2016 04:33
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CelticPredator posted:Who boos at movies? Audience reactions at cannes get press, I guess. I think i've been in the audience when people clapped one time. It just feels good to cheer.
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Mar 20, 2016 05:11
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You guys are awesome, i'm going to go watch this immediately https://www.youtube.com/watch?v=89KbxhLDPps
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Mar 24, 2016 03:19
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Magic Hate Ball posted:I know Lynch was really frustrated by the network forcing him to reveal Palmer's killer halfway through the second season. It really sucks he walked away from it for so long, because holy cow that is some bad television. I'd be bitter if I was a cast member, too. That's weird that something that frustrated him so much would basically be the basis for the movie. Leland being the killer is perfect, and although maybe it would have been better to reveal it later, if I recall correctly the plan was to never reveal the killer, which would prolong the series indefinitely, and that sounds like some walking dead level garbage. Eventually you realize that nothing is ever going to really happen and you stop watching. I hate poo poo like that.
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Mar 26, 2016 17:23
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egon_beeblebrox posted:Alright, I rewatched Mulholland Drive for the first time since I was 18 or so. I mostly got it but what in the gently caress did the old people have to do with all of it? That poo poo lost me. the best guess that I've read is They're her grandparents who told her she wouldn't make it in hollywood.. Given how everyone else kinda does the opposite of real life in the dream the way they're super supportive in the beginning means they probably didn't treat diane very nicely before she left.
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Mar 26, 2016 18:49
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Lord Krangdar posted:I think the idea was just to never have a "this is the one where we finally reveal the killer" episode. It was supposed to become clear slowly over time. quote:However, Lynch clashed with the ABC Network on several matters, particularly whether or not to reveal Laura Palmer's killer. The network insisted that the revelation be made during the second season but Lynch wanted the mystery to last as long as the series. From the Twin Peaks wiki, the source given is the box set that came out in '07.
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Mar 26, 2016 21:39
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| # ¿ May 2, 2024 07:59 |
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Raxivace posted:I think some of what she says is questionable. "[W]hat is constant in noir is that all the problems of the world are linked to female sexuality"? I think she's really overstating that as there's a long list of noirs where that just isn't the case, and then her trying to say female sexuality isn't linked to the problems Jeffrey faces in Blue Velvet borders on nonsensical, when, you know, his sexual experiences with Dorothy is a big part of what allures him to the darkness. Film criticism is largely garbage. This is something I find to be truer and truer as I get older.
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Mar 31, 2016 13:15
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