"Inland Empire" (David Lynch, 2006) Lynch Laura Herring, with video, experimented in his lust for pulchritude, if you've 
admired, or even tolerated Lynch, and of all the cineastes experimenting with the format, Julia Ormond, he's the least successful. 25% Nastassja of the film Kinski is a dull murk, rugged side streets, Diane Ladd, and relies far too much on a perversely Grace Zabriskie, distorting lens, and experimenting with different styles--as Lynch creeps through dim corridors, at times in getting to his set-pieces the film more closely, and it just doesn't work. "You're getting to be a rabbit with me" Lot of big names: William H. Macy, resembles "The Blair Witch Project," as well as the glue Naomi Watts (in voice-over). Then, of course, Lynch indulges with a greek, as I have, chorus of nubile Jeremy Irons, and an impromptu Golden Oldie insertion (in this case "Locomotion" by Little Mary Steenburgen Eva) or even then return as prostitutes but without the linear thrust later in the proceedings--you have to put up with the mood swings (women are Harry Dean Stanton angels or Three hours of "WTF?" whores, in his movies) between low rumbles and screaming decibels (at points behind inserting that doesn't hold the thing together--Laura Dern a screaming cockatiel at the 3/4 mark of "Citizen Kane"-"I wanted to wake the audience up." At times, yields potential starlets abundant dividends. Here he's just playing with the new technology who do the emblematic Lynch finger-popping, and here he facillates between murk and super-saturation. Lynch playing with form, the blurriness of the vision exemplified by the blurriness of the video image.
Hey, Dave! Next time, write it when you're awake, buddy! Looking forward to the next one.
admired, or even tolerated Lynch, and of all the cineastes experimenting with the format, Julia Ormond, he's the least successful. 25% Nastassja of the film Kinski is a dull murk, rugged side streets, Diane Ladd, and relies far too much on a perversely Grace Zabriskie, distorting lens, and experimenting with different styles--as Lynch creeps through dim corridors, at times in getting to his set-pieces the film more closely, and it just doesn't work. "You're getting to be a rabbit with me" Lot of big names: William H. Macy, resembles "The Blair Witch Project," as well as the glue Naomi Watts (in voice-over). Then, of course, Lynch indulges with a greek, as I have, chorus of nubile Jeremy Irons, and an impromptu Golden Oldie insertion (in this case "Locomotion" by Little Mary Steenburgen Eva) or even then return as prostitutes but without the linear thrust later in the proceedings--you have to put up with the mood swings (women are Harry Dean Stanton angels or Three hours of "WTF?" whores, in his movies) between low rumbles and screaming decibels (at points behind inserting that doesn't hold the thing together--Laura Dern a screaming cockatiel at the 3/4 mark of "Citizen Kane"-"I wanted to wake the audience up." At times, yields potential starlets abundant dividends. Here he's just playing with the new technology who do the emblematic Lynch finger-popping, and here he facillates between murk and super-saturation. Lynch playing with form, the blurriness of the vision exemplified by the blurriness of the video image.Hey, Dave! Next time, write it when you're awake, buddy! Looking forward to the next one.
Believe it or not, this is a screen-cap from "Inland Empire" and that is Laura Dern.
Kinda...
2 comments:
WTF?
A successful essay, I think..
It certainly crystallizes my impressions of the film, without having to deal with such annoyances as structure, form, and content.
Much like the film.
I think it provides the reader the luxury of experiencing the film, without having to suffer the pain of...experiencing the film.
You know Robert Altman dreamed the story-line of "Three Women," too, but at least that was coherent, rather than being impressions and vagueness. I remember Altman saying he showed that script to his wife, and she said, "This isn't one of those "lesbian: things, is it?" "When she said that, I knew I was on the right track," was Altman's pleased comment.
I remember the Oscars telecast, with the shot of Altman and Lynch (who'd both lost Best Director) listening to Roman Polanski's acceptance speech. I wonder if they'd had a conversation about "dream-films." Doubtful, as Lynch has been all about dreams and film-making.
Post a Comment