quote:

Originally posted by ChrisFromAstoria:
I'm surprised that people are not as high on BLUE VELVET. As far as I'm concerned that film is his masterpiece.

I agree. For me, Blue Velvet is the quintessential David Lynch film. I think it showcases his style and ideas better than anything else he's done. Dean Stockwell lip synching Roy Orbison's "In Dreams" into a work light is still one of the all time classicly bizarre movie scenes.

Blue Velvet is a half-masterpiece. Dennis Hopper's character is one of the best characters ever, but everyone else is so boring. The movie overall is so-so, but any scene with Dennis Hopper is totally awesome.

"Heineken? FUCK THAT SHIT! Pabst Blue Ribbon!"

quote:

Originally posted by Buck "Sweetie" McGuck:
"Heineken? FUCK THAT SHIT! Pabst Blue Ribbon!"

Best line from a movie ever.

quote:

ChrisFromAstoria posted:

I'm surprised that people are not as high on BLUE VELVET. As far as I'm concerned that film is his masterpiece. I remember seeing that one on original release back in the 1980s and being totally blown away by its originality and skewed perspective.

MULHOLLAND DRIVE has the big question-mark and a strong female emotional twisting allure that stands out in memory - like a big sign to be remembered by. Nevertheless it's been so long since BLUE VELVET that I wouldn't be surprised that if I saw it again, I could agree with you.

I liked Eraserhead. It was like watching nightmares. I liked Elephant Man too. Very good film. I found some of his other films to be deliberatly awkward.

With mainstream film we watch something seemingly normal and try to deduce a sub-text. With Lynch, We are presented with a sub-text and have to deduce what is normal. It is an interesting concept, but ultimately it takes a lot of effort on the part of the reader, which can be a strain.

I have no doubt that his creations are visually stunning (that includes Dune), but I did find myself getting drowsy in one or two of them.

quote:

Originally posted by Nathan25:

On a side note. I think he'd be the best person to do an interpretation on the life of Jesus. I believe Lynch could bring something fresh and thought provoking to a story that's gone stale.

He DID that. In 2001. Mulholland Drive. Rita/Camilla = Jesus. Diane/Betty = Judas.
Adam = mankind.

Are you sure you have those correctly cast? Adam is saved by Rita in a truly-sacrificial way which will carry on throughout humanity's existence? I always felt for Betty. Are you saying I'm wrong, and there's ONLY one way to see this flick?

Speaking of DL, he has a new film on the way. It has been selected to play in the upcoming New York Film Festival. It is a French/U.S. co-production, but I have no idea what it is about and I don't want to know anything more about it until I see it in October.

I caught up with David Lynch's latest film, INLAND EMPIRE, a couple of week's ago and must admit that I found it tough to sit through.

It has won critical acclaim, but Lynch found trouble finding a distributor so self-distributed the film. The fact that it essentially doesn't have a script, was shot on cheap digital video and is three hours long probably has something to do with the fact that distributors were luke warn about its commercial prospects and had a lot to do with the fact that I hated the film.

There actually was a script and the film isn't half-bad for the first 45 minutes/one hour or so, but then it goes off the rails when he ran out of script and the film devolves into the abstract. That is when Lynch lost me.