Anyone who reads the title of this post will stay at least thoughtful, and more than a gaping, and that 47 prostitutes are many, but all that data to other I was highly familiar and inevitably lead them to what was the last film by David Lynch: Yes, I'm talking about INLAND EMPIRE. And if my last post titled "Mulholland " I said that "Mulholland Drive" was the crowning work of Lynch, I retract myself and I declare now that no, that quintessential Lynchian masterpiece is undoubtedly " INLAND EMPIRE " yes sir, I said ...
History:
This "Inland Empire" is the most intimate, intrinsic and integral to the films of Lynch, is the total compendium of his career, is " we are here ", then it is only the eternal horizon as seen from a desert. Lynch universe need not be understood as the typical standard films of all life, is a universe to be lived, explored, and revisited the most difficult to satiety (and here I get the giggles whenever those detractors who say es una mala película porque no se entiende, y de paso se burlan de los fans lynchianos acusándonos de dementes y paranoicos). Para empezar, decir que a Lynch no se le ocurrió nada más difícil y tortuoso como trama, que utilizar la temática de “cine dentro del cine”, vemos en una película cómo se está rodando una película; de paso y por asociación de ideas, mi memoria me lleva al poema de Edgar Allan Poe titulado “A Dream within a Dream”, un sueño dentro de un sueño; así que nada más apropiado ya que Lynch es un fiel adepto a los pantanosos terrenos de lo onírico. Vemos precisamente en la escena final, como una vez terminada de rodar una de las escenas, Sue/Nikki enters one of the cinemas and referred to herself on the big screen but in real time, something scary, what a genius idea of \u200b\u200bLynch, who's being filmed now, and why? Or simply refers to a metaphor that everyone should play the part of your life?, As I repeat it is a wonderful idea. It also has to acknowledge receipt of the continual loss of identity and personality splits in several of the characters: "I am not who you think I am," "I had seen before", etc. Another of the peculiarities of the film is as Lynch is recreated in these wild close-ups of that abused constantly throughout of the three-hour movie, the faces appear as deformed and fail to give much more scared than usual, perhaps the effect was that Lynch was pursuing. There follows several parallel stories, interspersed and overlapping, and even repeated scenes, such as the murder with the screwdriver and the interrogation, the time has disappeared or is in concentric circles as the story unfolds, in fact is what Sue / Nikki explains, does not know if what is happening belongs to today or tomorrow, and even what the foreign neighboring states at the beginning of the film: - "If tomorrow you would be sitting there in front" and Sue / Nikki looks and there is sitting with some friends, and the film ends just there, the foreign neighbor looks back and when he does Sue / Nikki is sitting again, but alone and quiet, happy, yes, happy because the circle is closed and everything went well ...
The cast of actors:
On top we have the magnificent performance by Laura Dern, which is and always will be and for me, the role of a lifetime: the face of loss , flip, taken away, crazy, dementia leads to a total of simple actress who has lost roles (pun intended) and confuses reality with fiction, and sometimes even with imagination. As I say and repeat: unsurpassed performance. Incidentally, this film, Lynch brought back to his real mother, Diane Ladd in the role of the evil Marilyn Levens, facing the two in their respective roles during the scene of the interview, as was the case in "Wild at Heart "(Wild Heart), which both interpreted in an authoritarian mother and daughter.
And what about the magnificent new guapazo Justin Theroux?, If we already fully convinced in his role as Adam Kesher, a film director in Mulholland Drive, here is an actor who plays an actor in this time without glasses, much more attractive in certain scenes seem even one of these fine gallants of the golden age of Hollywood.
Or the phenomenal principle with the unmistakable Grace Zabriskie in his role as foreign neighbor of the Balkans, with that weird accent she puts into her conversation, this woman is a crack in the interpretation, and aboard its historic role as Laura Palmer's mother, Juanita or Durango in Wild at Heart, but here he just appear in the intro movie to give us confidence that we have a quality product Lynch.
also remember the presence of another side of Lynch, none other than Harry Dean Stanton, in the bizarre role of assistant director, with his singular face of failure or lost, both mounted. And the actor who plays the film director and I'll even name because I never liked to look so ordinary poor person ...
casting Made in Poland, guapazo highlight the actor who plays the husband of Sue / Nikki, Polish actor Peter J. Lucas, very attractive in the various roles that are attributed there.
But above all highlight the actor Krzysztof Majchrzak (what a name, I can imagine in the first year trying to write his name without getting a single letter, ha, ha, ha) that gives life to that dark and terrifying character nicknamed "The Ghost", his evil face and his manner of speaking and moving are true chills, very wise choice of this actor. And what about the selection of whores, who are not 47, but I guess more than a dozen if they go on stage, I do not know, as all have the same face of a bitch I can hardly tell them apart, and I do not mean that they wear and makeup look like sluts whores and that's it, but what are clearly written on their faces, hear birth are whores! distill their eyes how much service! ha, ha, ha, ha, ha ... Ah! and more grace than I did reading the credits, read the names of them, it turns out there one called: Fulani Bahati, called Fulani, ha, ha, ha ... As I said, it's in their blood ...
Bunnies:
seems that in 2002, Lynch turned to its fans a kind of dark comedy through its website. The series was titled Rabbits ("Rabbit") and consisted of eight episodes full of surreal to be developed into an extravagant room rusty hues, and inhabited by strange people with rabbit heads. Lynch recovers certain passages in this series and put them in the Inland Empire, which at first glance seems to have no much sense, but then we learned that the "openness" essential spoken at the beginning of the story and connects the two worlds of reality / fantasy, in fact there are several scenes where we see how certain characters are superimposed on rabbits. Perhaps Lynch was also captivated by his disciple that Richard Kelly, and his hutch history "Donnie Darko" which was filmed just a year before?, Heh, heh, heh, heh ... By the way, what was Jake Gyllenhal monkey in the role of Donnie Darko, especially when he says that from "What sense does it live without a dick? ...
Lynch self-homage:
Laura Harring (What Eyes) ...
Yes, over the three-hour movie is a series of hints that remind us of scenes from other movies Lynchian, beginning with the tense music that brings us once again and forested landscapes Twin Peaks, and those heavy red velvet curtains where Agent Cooper is lost, or the man sawing a log during the credits, or the final scene with the musical piece entitled "Polish Poem" sung by Chrysta Bell in the manner of Julee Cruise is modeled on "Mysteries of Love" in Blue Velvet; or conversation between the husband of Sue / Nikki and Devon about the acts have consequences, recalling the scene of the cowboy with Adam Kesher in Mulholland Drive, etc. But one of the hints that I noted is the guest appearance of Laura Harring sending you an air kiss to Laura Dern (relay) in the final scene of the credits: it's fantastic, sitting there in his black suit, fresh out of Mulholland Highway . I do wish to say that I do not know what people saw in Naomi Watts to cheer and put aside both Laura Harring, with those big eyes and the exuberance product mix between Mexico, Austria and Germany, for me she is wearing and not the whole story the other ... MMXI = XIM + M
could write about the Inland Empire, but I remain silent and a time and left to round off a wonderful article (THE BEST) I found the film in a cinema blog named : Film Blog, and written by Adrian Massanet:
David Lynch: 'Inland Empire' revolutionary anticine
- "I'm a whore! Where am I? I have fear! "
Nikki Grace (Laura Dern)
I think a true artist is not defined by his dedication to the time to please those who come to see their work, even those devotees who praise his work. Is defined by its loyalty to itself. In that sense, it seems doubtful that many managers, many artists at the height of David Lynch. The, rare, exceptions could be those of Zhang Yimou, Roman Polanski, Terrence Malick, Alfonso Cuaron, James Cameron, Michael Haneke, Francis Ford Coppola, Hayao Miyazaki, Wong Kar Wai and very few others, true guardians of a profession that already ten years after the beginning of the century, seems on the verge of extinction. Lynch, in the final stretch of his career, four years after his irregular 'Mulholland Drive ', conducts a nuclear bombshell film, the ultimate finding that Lynch does not care expectations, and can only be true to his own personality.
For with his tenth feature film, the director of Montana passed by lining concepts such as plot, the dramatic progression, narrative construction, the external rate, conventional visual planning, the once venerable celluloid support, to enter with determination and inspiration more than ever in the mud of the abstract and the dream that so many call it the wrong way (in my opinion) experimentation, as we are unaccustomed to the sights and sounds be used in a manner so free and poetic. And Lynch works in that mud-factly, marking a formal way and internal rules that never leaves, reaching its conclusion in his development of more personal and unclassifiable film imaginable. Ten feature films and nearly thirty year career, Lynch gets it in a way so beautiful and strange.
Still, do not share the common perception about what this movie means a rambling gibberish without any sense, but it is true that Lynch, in full complicity with his editor and producer (and wife) Mary Sweeney, has not the slightest interest in telling your story the way that ten thousand directors told their own before him, and will not give easy answers. That does not necessarily mean that the viewing of 'Inland Empire' requires an instruction manual or that the viewer need every minute to ask what symbolizes what, or what is the enigma of each sequence, instead of letting go by the flood of visual fascination to offer this great film in the nearly three hours of footage in this film. The story of an actress whose role in a movie becomes more real than life itself is perhaps the definitive poem Lynch.
portentous Laura Dern
actress And that danger could not be otherwise than wonderful Laura Dern, who in the words of the director is "the best actress I've worked with in my life." Lynch digital camera build a true declaration of love to the talent and unique beauty of this woman, who is marvelous in a very difficult role and is the true heart and soul of the film, although his character probably no more than an imaginary projection of another woman, whose inner demons, as insecurity and jealousy which they invent an alter-ego of herself as a strategy to defeat those demons. Others will have other explanation or theory about what we want to have this film, but the important thing, I think, is the sensory pleasure that causes extreme staging (the only yardstick by which we judge a work according to the great Jose Luis Guarner, with whom I completely agree) of this film, in which we get the look and sound more elaborate, and I do not exaggerate, in recent years.
When they appeared 'Lost Highway' and 'Mulholland Drive', many believed they were incomprehensible, but seeing them today do not seem much. Rather quite clear. And I think we just have to be observed 'Inland Empire' (whose title for reasons that escape me, should be written according to its director in all caps ...) without prejudice and without intent to seek three feet the cat, the film reveals a clarity that belies a taste for the colorful, and is released a full complement (and overcome) the hollowness of 'Mulholland Drive' proposing again the conflict of an actress in a magma lost images, but this time created by a female character who, as Fred Madison 'Lost Highway' is more beset by irrational jealousy, and seeks out a pathetic existence. Therefore, 'Inland Empire' is a colossal masterpiece, which combines the most sinister and the brightest of all Lynch's work, giving a new physical and spiritual sense while destroying any emotional or aesthetic existing filter that can lead the viewer along. Leaving
celluloid forever defend to death before, Lynch is passed to digital (with a Sony DSR-PD150, a very light and handy camera), which for him has said he has been quite a find, as with that camera, and with this format, feel fully capable of doing what he pleases. And he did, in a shooting that took several years, and he was improvising as he felt for what was filming, something that actors Laura Dern and Justin Theroux became accustomed very soon be able to meet the challenge posed by working with an artist as unpredictable and anarchic as Lynch. In fact, he managed to sign with a script that was not complete on purpose, because Lynch did not want to know where he was going, I just wanted to film what was happening, suicidal strategy for the bulk of filmmakers in the world, but which leaves Lynch master live.
It does so with the help of Dern, in addition to gorgeous (at 39) is capable of giving a gallery of hues unattainable for many professionals, and with an imagination that makes these almost three hours in a pit that passes as a sigh in which each distorted image, every sound echoes, each and every creak haze has a psychological and emotional intent. The sounds created in this movie could be, I think, the most elaborate and decisive years of cinema. The importance given to sound Lynch is established, once and for all, especially in the spinning disk images (true totem of the film) or transitions that are like dreams within dreams. Which added to what is probably an example of anti-commercial film, Lynch offers several galaxies over other directors who use dreams as a weapon being as mere stenographers narrative (and I mean Nolan's 'Origin', although many may have already imagined it), make 'Inland Empire' in radical film not for all minds. Adrian
Massanet August 13, 2010
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