"I always sort of wanted to do films. Not so much a movie-movie as a film-painting... It was really the mood I was
after. I wanted a sound with it that would be so strange, so beautiful, like if the Mona Lisa opened her mouth and
turned, and there would be a wind, and then she'd turn back and smile. It would be strange."
This quote from Lynch basically says it all about his style. He isn't a surreal director per se, and he definitely
doesn't use shock for art like many others - he simply is in love with the weird for weird's sake. For this reason
it would be a mistake to assume everything in his movies has meaning and he himself refuses to talk about his movies,
preferring to let people 'dream'. The way he talks, it seems even he doesn't know where his stories and mysteries
are taking him and is exploring the dream and mystery as he goes.
Music and sound are carefully used to set moods, and his films are often fascinated by the dark and the twisted in humanity,
usually hiding underneath ordinary people or small town life like a subconscious nightmare. His more recent films dive
deeper and deeper into the illogical, obscure and impenetrable, using dream logic (or no logic), and striking imagery
and events to explore dark narratives through their back-doors while leaving room to dream. To enjoy his work, I strongly
suggest switching off the left brain, to stop trying to analyze the pieces, and simply experience what you see as a
Lynch hates compromising his visions and methods and has therefore moved away from the Hollywood studio system in order to
gain complete control, with uneven, indulgent results. He now uses digital cameras and has also created a web site for his
minor creations where he dumps every half-baked project that comes into his head.
Much less bizarre than disturbing, this dark 80s hit is a mysteriously fascinating and dark blend of film noir and satire. The
theme is about picture-perfect, innocent small-town life and the dark twisted secrets hiding underneath. Jeffrey finds a severed
ear and this leads him to some personal detective work that uncovers more and more twisted goings on in his town. Secrets reveal
a mysteriously neurotic singer and her relationship with an abusive, evil man, and events threaten to either pull him in or take
his life. The twisted characters here are disturbingly realistic and Lynch pulls no punches.
The benchmark of bizarreness. At the surface this is a dark and twisted tale of a timid dreamer on vacation living in a squalid
house and neighborhood who discovers he is now a father of a monstrous creature/baby due to an old sexual encounter. He is forced
into marriage by the mother-in-law and is frequently left to care for the baby while his emotional wife runs off to take breaks
from this unpleasant life. He uses one of these breaks to have an affair with the neighbour. This is all filmed with incredibly
bizarre imagery and behaviour through nightmarish dream sequences and visuals. Details such as the other world with a pilot,
sperm-like worms and a strange lady inside a radiator can be taken as symbols of subconscious, guilt and death, but the movie works
as a superb dream-like experience regardless of what it means, so it is highly recommended. Lynch has never repeated the brilliantly
pure and abstract dream-experience of this debut.
This prequel to the TV series doesn't reveal much that is new to the general plot and even has some minor discrepancies and missing
characters, but it does detail the last few days of Laura Palmers life and the events leading to her death. As with the series, it
asks new questions while answering a few old ones and it is by far the darkest and strangest episode in the saga. The problem though
is that most of the clues and images are either too obscure and for fans of the series only, and if they aren't, they simply make no sense.
But while this movie fails as a stand alone story, it succeeds admirably as a nightmare. The combination of these dark, twisted characters,
very bizarre events and visuals, heavy supernatural motives, Lynch's otherworldly directorial style and an extremely effective and carefully
designed soundtrack all make this into a very disquieting, nightmarish experience. So many of the scenes are grippingly bizarre and it all
comes together as a dark, disturbing masterpiece that haunts you for a long time afterwards.
Twin Peaks: Fire Walk With Me
A trilogy of tales set in the same hotel room at different periods in history of which only the first and last were directed by Lynch.
The first is the best and involves a mysterious relationship between two men which slowly unravels and turns nasty, one of which who
brought a hooker who is 'stolen' from him. The second is an ironic Sex & the City-like piece with three bitchy and slutty women. The
endless third piece involves a man and his mentally unstable wife (or relative of some sort) that sit in the dark and tediously discuss
random, twisted subjects that don't add up to anything coherent.
I really wanted to like this after waiting so long for a new stand-alone movie from Lynch. Over the years I've tuned into Lynch and his methods
and eagerly await for him to finally put it all together and produce his ultimate nightmarish masterpiece instead of teasing us since Eraserhead.
Inland Empire presents Lynch in complete control of his creation, on digital camera, in a 3-hour odyssey. This is exciting news. Here is another
dream/mystery concocted by Lynch, who is exploring the clues and unknowns along with the cast while he's filming it. Also very promising. The
story involves an actress who is hired to star in a remake of an unfinished Polish film which is presumably cursed and prone to murders. She has
an affair on screen, and it slowly bleeds into reality, her strange husband not too pleased as a mysterious evil follows him. For the first hour
this is mostly conventional horror setup and ploddingly slow, but then Alice falls into the rabbit hole as she switches between realities and times.
Identities are passed between Poland and Hollywood, scenes from real-life become part of the movie, a chorus of prostitutes dance, Lynch inserts
episodes from his creepy Rabbits into the weave as another celluloid reality which bleeds onto the set, and it all leads to a fateful, inevitable
and confusing murder. The biggest flaw is the ugly and distracting digital cinematography, bad lighting and closeups. Lynch really needs high-quality
visuals to interpret his vision. The second flaw is the uncontrolled indulgence while Lynch inserts too many scenes and songs that simply don't work.
For example, while a woman is dying, some homeless people discuss for ten minutes taking a bus to Panuma and how her friend has a monkey, and a hole
in her vagina. The third flaw is that this feels recycled, sometimes like an inferior Lynch-clone, other times like Lynch is treading water, repeating
what he did much better in Fire Walk With Me with a recycled soundtrack from The Shining. In short, this is full of bad decisions and despite some
truly striking and creepy scenes and the fact that this is uncompromised Lynch from start to end, this is one of Lynch's worst.
The first four-dimensional movie that takes place in a parallel universe (or universes). Well, that's one take on it anyways.
Take a simple story about a man who suspects his wife of infidelity and seeks revenge, and turn it inside out, add some forwards,
backwards and sideways time travel, take away the basic concepts of consistent identity, spatial persistence and causality, and
you get this challenging work that is way ahead of its time. Another way to look at it is that once the man starts suspecting,
his mind splits off into a fugue of separate fantasy worlds, one where he kills her, another where he kills the other man, and
a third where he is a younger man stealing her away from the other man. These three worlds are interconnected with mutual characters,
one person that plays two different roles, a man who is actually two people, a man that can be in two places at once, and a man who
communicates with himself using an intercom and video tapes ("I prefer to remember things in my own way, not the way they actually
happened"). Or perhaps he actually did kill her and the other two worlds are his fantasies in prison? But while all this is fascinating
to the metaphysically inclined, the movie doesn't work as well as it should. There are too many overly-long and dull atmospheric
scenes, too many sex scenes, too many unsympathetic characters, and too many changes of moods, story-lines and pace for everything to
come together as a whole. Confusing, unfocused, and frustrating but at the same time a fascinatingly illogical, anti-structural,
dark dream captured on celluloid with elements of a man's real life story winding in and out of the visuals.
A combination of Lost Highway and Twin Peaks, based in LA. This movie actually started as a pilot for a new TV series in the vein
of Twin Peaks but 40 minutes of closure and resolution were added instead and it was released as a movie. Unfortunately, this swerve
in direction shows itself very obviously after the first hour and a half and the two parts don't complement each other too well. The
first part tells the story of a woman with amnesia involved in something sinister that makes no sense, with a slew of strange
characters popping in and out of the story and a lesbian lover who tries to help her. This is a straightforward narration that is
at times strikingly interesting, humorous or mysterious. The second part suddenly dives into lesbian erotica while turning the
whole story inside out and showing that the first part was a 'dream' while characters slowly shuffle their real identities back
in place and events turn out to be unconscious wishful thinking. Most of the main issues resolve neatly at the end as you find
out their place in the real story (if you think about it real hard), but plenty is left over and the movie doesn't work anymore
during the second viewing. This is because the first part is too straightforward and long to be a dream and you lose interest because
you know that the plot won't go anywhere anyways. Note that I am not complaining about the bizarreness or revolution of the last
part, but that the first part isn't surreal enough! With better planning, this would have been great.
A short-lived TV show with 7 episodes featuring David Lynch doing slapstick and silly comedy. It's not as entertaining as you would imagine
however since it rapidly goes from outrageously silly and quirky to just silly. On The Air features over a dozen quirky and ridiculous characters
that are filming the live Lester Show which never seems to work out but becomes a hit nevertheless. Props break, actors make terrible mistakes,
accidents happen, the stupid actress becomes more popular than the main star, the director is so foreign his assistant translates his English,
siamese twins hop around yelling "Hurry Up!", and the sound man sees 26 times more surreal objects floating in the air than other people.
On The Air
A series of 8 7-minute pieces released on Lynch's web-site. Three characters wearing rabbit suits sit in a dark living room
and exchange dialog that is completely out of sequence (responses to questions delivered 3 episodes in the future)
while rain pours down outside. Every time a character enters the room, an audience applauds, and some random laugh-tracks are used
as more non-sequiturs. Once in a while they get to perform a soliloquy and something demonic appears. That's it. This is Lynch's amusing
version of a bizarre & mysterious sitcom that is creepy and fascinating at first, but gets old fast. Don't expect to figure anything out.
A collection of shorts wrapped in a narration by Lynch who explains the background of each. Two early, freaky, animated 5-minute shorts start
the collection that show Lynch at his strange games right from the start, then the masterpiece of the collection: 'The Grandmother'. This one
is a semi-animated precursor to Eraserhead and tells the tale of an unhappy boy born from dog-like parents who plants a seed in a bed in the attic to
grow his own grandmother for some loving care and attention. Very bizarre animations and haunting sound effects fill this surreal short that is
at times reminiscent of Svankmajer. The 5 minute twisted Amputee shows a woman writing about silly nothings while her leaking amputated leg is treated
and the silly but amusing 'Cowboy and the Frenchman' portrays the French as seen by Lynch, juxtaposed with a cliched cowboy and some snails.
Short Films of David Lynch, The
Revolutionary TV series followed by a prequel movie "Twin Peaks: Fire Walk With Me". The series shocked, surprised and changed TV
watchers forever with a carefully and brilliantly designed, dense and complicated mystery plot that kept asking new questions as
soon as some old ones were answered. The plot mainly revolves around a murdered girl with many dark secrets and the FBI agent and
local sheriff who are investigating the case, but the murderer turns out to be a Macguffin to keep audiences titillated and intrigued.
The only reason the murderer was finally revealed (in episode 14) was due to studio pressure so as not to lose ratings. The series
are basically a more progressive Blue Velvet featuring a slew of quirky or dark characters and many twisted goings on under typically
cheery small town life. Add to this bizarre dreams and visions seen by various characters, a lady that gets messages from her wooden
log, and a seemingly supernatural being that is causing people to do all these twisted things. If you like ongoing, open-ended TV
series and wish for an intelligent soap with complex, multifaceted, intertwining plot lines, then this should be your dream come
true. Hardcore fans are still discussing all the details a decade later. Others will get tired of the convoluted and even manipulative,
endless plot twists and layers and eventually stop watching after 7 to 20 episodes. If you are a big fan of resolutions and focused,
closed-ended movie plots, then stay away. Also, you shouldn't watch the prequel movie first if you intend on watching the series.
Gratuitous but stylish, humorous sex and violence is still gratuitous. Predating most road movies with violent, crazy sprees
(a la Natural Born Killers), this movie offers a kaleidoscope of twisted characters in a violent soap opera trying to either bed
or kill each other. For no reason whatsoever, the events are tied together with references to the Wizard of Oz with appearances
by witches, little dogs, heels being clicked together, and so on. A disappointing release by Lynch that offers none of the realism
or fascinating characters of Blue Velvet but revels in style and weird humor instead.
Wild at Heart