David Lynch - Classic or Dud

Yeah, quite right. I read the book a year before the movie came out so my timing was perfect there...

although, N. has had my copy of the cinema one for nearly a year, now.

cremaster's opulent mythboredom reminded me a lot of dune

absolutely. it's funny how the production design seems to be the central concern of the film for much of its length, but unlike other well-appointed films, the design is actually so rich it actually sustains interest.

this movie redeems dino dilaurentis's reputation from all the europudding he's made. (well, this movie and "blue velvet.")

the last half hour is a mess, yes, but it's compelling for being so incomprehensible. the ending, if you haven't read the book, is just quizzical--all the more so for being so terrifically bombastic and theatrical.

FWWM, like Dune, does have a lot of extra footage still sitting there. As a fan of fractured, difficult art I'm not too bothered about seeing it restored. Pretty much all the series cast shot scenes.

Err, Lynch incidentally is brain-crushingly classic.

There's a much better book out there if you can find it at all -- The Making of Dune by Ed Naha. He was hired to essentially hang around on site during the entire length of filming and write a book about it all and did a fantastic job, I thought. While essentially uncritical about the final product itself, it actually doesn't talk about that so much as just the filming itself. Also laden with tons of photos.

Here's ten, in order of "classicness":

1. Mulholland Drive
2. Eraserhead
3. Blue Velvet
4. Wild at Heart
5. Elephant Man
6. Twin Peaks
7. The Straight Story
8. Dune
9. Fire Walk with Me
10. Lost Highway

1. Mulholland Drive
2. Blue Velvet
3. Eraserhead
4. Elephant Man
5. Lost Highway
6. Fire Walk with Me
7. Twin Peaks
8. Dune
9.The Straight Story

sorry, jaymc, my aside has troubled you, AND i used the wrong tense in one sentence!
and it revived a discussion, how about that ?
but huh ?, you haven't commented on Princess Anne and the BAFTAs, which was what i was getting at. Or anything else beyond the semantics of said paragraph. What do YOU THINK ?

I'm not sure I'll ever get round reading the book so could somebody please summarize what it adds to the movie?

David Lynch: Well, you know, nature can teach us a lot of things, and there's
something about, in painting, you're working within a certain shaped
canvas and there's many things that you, you know, one does
intuitively, to move the eye, you know, there's repetition of shape,
there's repetition of colour, but when you start looking at a duck,
you see your eye is moving in a certain way, and you see textures and
colours and shapes and you start wondering about a duck, what it can
teach us about, you know, any kind of abstract, you know, painting, or
proportions or even sequences, scenes, and it always is interesting
that the eye is in the perfect place - if you move it to the body, it
would get lost, if you move to the leg or the beak, it's two, kind of,
fast areas competing, even though the eye is the fastest, it's the
little jewel.

DL: Well, there's slow and fast. An empty room is a certain speed,
and a person standing there is another speed, and that proportion is,
you know, can be beautiful, if the room is a 2 and the person is a 7.
I think a person is around a 7; fire and electricity can go up to a 9,
for instance, or really intricately designed, you know, decorative
room is pretty disturbing, sometimes - it's too fast. But then if you
put something slow in it, it could work beautifully. A busy room and
a person, they fight each other. So...

MC: Is this to do with how fast our eye moves to scan it, to see
what's happening?

DL: It's a relationship thing, I think. Fast and slow areas.

MC: OK. What is the eye of the duck scene in Straight Story?

DL: I haven't thought about it. I have to think about it. I can't
just jump in and think, but I believe every film has the eye of the
duck scene. But, it can fool you. You know, which one it is - it
could be the scene we were talking about, I don't know.

MC: What's the eye of the duck scene in `Blue Velvet'?

DL: I used to know.

MC: Is it the `In Dreams' song.

DL: It's the eye of the duck, that's the eye of the duck, yes, yes.

[clip `in dreams']

MC: And what's the eye of the duck scene in Elephant Man?

DL: (laughs) I used to know.

MC: Is it the scene where he goes to the theatre? Near the end?

DL: No, I think, strangely, the eye of the duck scene is the ending.

- Lynch the American

http://www.dgp.toronto.edu/people/stam/suomi/stam/pics/duck_rabbit.gif

(x-post)

No, but maybe a little daffy.

"Lynch on Lynch" is one of the most entertaining books i have ever read.

I've only seen Lost Highway once and had completely forgotten about Pryor. Can't remember what his role was. There's a good chance I'll go out to see it this Tuesday. Will keep that in mind.

can't say i've read much good writing on lynch in regard to race but i enjoyed this:

https://www.vulture.com/2017/09/david-lynch-racial-politics.html

yeah lynch is a white guy who does best just dealing with white people, frankly. Hawk is a problematic character all over the place, just native trope after native trope (made worse by the fact that Michael Horse isn't native). I mean I still love TP obviously but these elements are all cringetastic.

Horse isn't native?

it's disputed. his mother is swedish, his adoptive father is german. he has claimed to be Yaqi (from Mexico), but he's not enrolled in any tribes nor do any tribes claim him. So if he is Yaqi, that comes from his father, but he hasn't elucidated that relationship.

yikes bro.

Meantime, next week's episode on You Must Remember This in the "Erotic 90s" season will, in fact, be about Lost Highway (plus at least some discussion of Jennifer Lynch's Boxing Helena I gather.)

Finally rewatched Lost Highway, long classified in my head as my least favorite Lynch. I liked it better the second time, was reminded how many great shots and scenes it includes. It really is gorgeous. But yeah, still pretty much my least favorite Lynch — cold and uninvolving, imo, except for a legitimately great performance(s) by Patricia Arquette. Bill Pullman and Balthazar Getty remain more or less inert. Such a mid-'90s film, in that gritty '90s bummer way — very little of the warmth and humor that balances the horror in most of his other work.

BUT also, in retrospect it seems to me like the first in an L.A./Cali noir trilogy, followed by Mulholland Drive and Inland Empire. There are ideas and motifs in Lost Highway that show up more fully realized in both of those films, almost like he had ideas he was wrestling with and Lost Highway was a sort of first draft. So, totally worth seeing but not one of his greats. (imo, ymmv)

New interview with Isabella Rossellini on Blue Velvet: https://www.indiewire.com/news/general-news/isabella-rossellini-responds-roger-ebert-blue-velvet-review-1234968621/

(I don’t think I was aware of the Ebert review…)

https://deadline.com/2024/04/david-lynch-animated-movie-snootworld-netflix-addams-family-edward-scissorhands-writer-caroline-thompson-1235877710/

“I don’t know when I started thinking about Snoots but I’d do these drawings of Snoots and then a story started to emerge,” Lynch told us in a rare interview. “I got together with Caroline and we worked on a script. Just recently I thought someone might be interested in getting behind this so I presented it to Netflix in the last few months but they rejected it.”

Lynch was philosophical about the reasons for that decision: “Snootworld is kind of an old fashioned story and animation today is more about surface jokes. Old fashioned fairytales are considered groaners: apparently people don’t want to see them. It’s a different world now and it’s easier to say no than to say yes.”

Lynch was coy about which project may be his next or which is taking up most of his time, cryptically noting: “I can’t talk about those things right now.”

Well at least this keeps hope alive...