Inland Empire [A Woman in Trouble]

(USA/France/Poland 2006)

“What the bloody hell is going on?” asks Kingsley Stewart (Jeremy Irons) at one point during Inland Empire, David Lynch’s last (so far) full length feature film. It’s an excellent question, one that anyone watching this three-hour nightmare no doubt has already wondered by this point.

Laura Dern is Nikki Grace, an elegant actress up for the lead in a new film, On High in Blue Tomorrows, due to start shooting very soon. A strange Polish neighbor (Grace Zabriskie) who lives “just up the way” drops by her California mansion one afternoon and casually but ominously brings up a murder in the film. “That’s not part of the story,” Nikki tells her visitor, who insists she’s wrong and throws a tantrum right there in the sitting room, screaming about “brutal fucking murder” and an unpaid bill. Annoyed and visibly freaked out, Nikki has her butler (Ian Abercrombie) remove her.

Nikki gets the part. Some weirdness happens, and the film’s director (Irons) tells Nikki and her rugged costar Devon Berk (Justin Theroux) that the film is supposedly cursed: it’s a sort of remake of an old Polish movie called 47 that was never completed because of a double murder on the set. The actors are upset but they agree to proceed with production despite the producers’ lack of transparency.

Meanwhile, Nikki is falling for Devon. The narrative gets weird here, ping-ponging back and forth between Nikki and Devon and their characters, Susan and Billy, as well as Susan’s husband, Smithy (Peter J. Lucas), who knows something is going on. Billy’s wife (Julia Ormond) proves to be a character of interest of ever increasing importance, bleeding into another seemingly unrelated subplot about Sue Blue (Dern), a rough and caustic Hollywood chick who finds herself pregnant. The problem is, her husband (Lucas) is sterile. And just who are all these hookers hanging out with Sue, smoking and dancing to “The Loco-Motion” in her living room?

Interspersed between all this is yet another triangular subplot set in 1800s Poland: a cheating wife (Karolina Gruszka) learns that her husband (Krzysztof Majchrzak) plans to kill her lover (Lucas). And just to keep thing interesting, Lynch throws in “The Rabbits,” a spooky sitcom about a family of…rabbits. Actually, actors in rabbit suits (one of them has the voice of Naomi Watts). Later, Sue somehow ends up in their living room.

Probably his most indulgent film, Inland Empire is the kind of thing I imagine most people associate with David Lynch: a surreal trip through the subconscious, the imagination, alternate universes, and time that starts out with a discernible plot but disintegrates into seemingly disjointed events, actors playing multiple characters, bizarre and vivid imagery, random upbeat pop songs, and a creepy score by Marek Zebrowski. Flashes of Lynch’s usual sense of humor pop up here and there, but for the most part this is a dark and somber film about betrayal, loss, and karma. Perhaps its strongest aspect is its overriding sense of dread, and the worst thing about is that it’s impossible to tell whether the scary part is coming or has already arrived.

Inland Empire is surely a horror film. I imagine not many people getting into it, and most even being turned off. Length and structure—or lack thereof—aside, it’s not an easy film to watch or understand, and frankly I’m not entirely sure I grasp what the whole thing is about. Indeed, different characters say “I don’t understand” over and over, and Devon/Billy tells Grace/Susan a few times that she isn’t making sense. A common thread that ties the multiple plots together eventually emerges, but I get the impression that this is merely a heap of undeveloped ideas Lynch assembled into one big project.

Still, I found myself mesmerized all the way through it. The ending, where Sue’s fate plays out over the stars on the Hollywood Walk of Fame, is dowright distressing. In a way, it’s also beautiful. Lynch offers a lot to chew on here; I’ve gone over it multiple times since I saw it. I have my theory of what really transpires in Inland Empire, and someday I’ll watch again with an eye toward backing it up. It won’t be anytime soon, though.

Post script: I had the pleasure of seeing John Waters speak in the afternoon before I caught Inland Empire. Needless to say, it required a major shift in gears.

With Harry Dean Stanton, Diane Ladd , Mary Steenburgen, Terry Crews, William H. Macy, Leon Niemczyk, Nastassja Kinski, Monique Cash, Latrina Bolger, Fulani Bahati, Ashley Calloway, Erynn Dickerson, Jovonie Leonard, Jennifer Locke, Helena Chase, Nae

Production: Absurda, Studio Canal, Fundacja Kultury, Camerimage Festival

Distribution: Ryko (USA), 518 Media (USA), Absurda (USA), Studio Canal (International), Mars Distribution (International)

180 minutes
Rated R

(Music Box) A

David Lynch: A Complete Retrospective

http://www.inlandempirecinema.com

http://www.davidlynch.de

Mulholland Dr.

(USA/France 2001)

“No hay banda, il n’est pas d’orchestra. It is all an illusion.”

—The Magician at Club Silencio

The perfect opener for a retrospective on its director, Mulholland Dr. is an inimitable film that’s really hard to write about. You can look for answers online all you want, but even after seeing it multiple times you still don’t know what happens in it.

Not unless you’re David Lynch. That doesn’t make it any less enjoyable, though.

I’ve seen Mulholland Dr. maybe three times, and I’m not sure. I have my theories. Maybe they’re right, maybe not. Who cares? As with any of Lynch’s best films, the draw to Mulholland Dr. is that it’s a puzzle. He makes you work to solve it, or at least try to. He gives you just enough to go on but leaves the whole thing open to interpretation. At points, he gets you so frustrated, you lose patience and you hate him. But you don’t want him to stop. It’s artistic sadomasochism.

What began as a project for television is a mystery mindfuck tailored to the big screen. Dreamlike, hypnotic, and erotic, Mulholland Dr. is visually demanding and aesthetically worth every minute. The premise is deceptively simple: perky and wide-eyed blond actress Betty (Naomi Watts) arrives in Hollywood and bumps into beautiful young brunette Rita (Laura Harring), who can’t remember who she is after a car accident on Mulholland Drive.

As the two set out looking for clues to Rita’s identity, Lynch throws in a bunch of random characters, muddled subplots, and perplexing events. The narrative arc he puts us on comes to an abrupt halt with a small blue box the girls acquire at a night club. This is where Lynch pulls the rug out from under us.

Mulholland Dr. is definitely a love story—one fraught with competition, petty jealousies, one-upmanship, and ultimately murder. Lynch’s trademark sense of humor flickers here and there, but this is still dark stuff. I see Mulholland Dr. as a denouncement of Hollywood and all its ruthless superficiality. It’s a town that eats you up and spits you out.

Motifs of filmmaking, commerce, ego, vision, and of course the color blue stand out. Rebekah Del Rio’s performance of “Llorando” is beautifully forlorn and eerie. I would be remiss not to mention Peter Deming’s cinematography, which makes Mulholland Dr. shine.

Sadly, Lynch hasn’t done a proper film since 2006. He’s the one living filmmaker whose work I miss the most. Mulholland Dr. is a testament to why: like the street where it takes its name, this film is twisting, treacherous, and ultimately breathtaking.

With Jeanne Bates, Robert Forster, Brent Briscoe, Patrick Fischler, Michael Cooke, Bonnie Aarons, Michael J. Anderson, Ann Miller, Angelo Badalamenti, Dan Hedaya, Daniel Rey, Justin Theroux, David Schroeder, Robert Katims, Marcus Graham, Tom Morris, Melissa George, Mark Pellegrino, Vincent Castellanos, Rena Riffel, Michael Des Barres, Lori Heuring, Billy Ray Cyrus, Tad Horino, Missy Crider, Melissa Crider, Tony Longo, Geno Silva, Katharine Towne, Lee Grant, Lafayette Montgomery, Kate Forster, James Karen, Chad Everett, Wayne Grace, Rita Taggart, Michele Hicks, Michael Weatherred, Michael Fairman, Johanna Stein, Richard Green, Conti Condoli, Lyssie Powell, Scott Coffey

Production: Les Films Alain Sarde, Asymmetrical Productions, Babbo Inc., Canal+, The Picture Factory

Distribution: Universal Pictures

147 minutes
Rated R

(Music Box) A-

David Lynch: A Complete Retrospective

http://www.lynchnet.com/mdrive/

While We’re Young

(USA 2014)

Noah Baumbach’s snooze of a film about a middle-aged couple (Ben Stiller and Naomi Watts) whose staid life is seemingly revived by an effervescent, young hipster couple (Adam Driver and Amanda Seyfried). While We’re Young relies heavily on angst and clichés, and glides into an unfortunately trite comparison of GenXers vs. Millennials. What a fucking yawn. Yes, there are a few laughs and a nice cameo by Beastie Boy Adam Horowitz, but still—I was bored with most of this disappointing piece of meh. I should’ve brought a book. Now get off my lawn.

(AMC River East) D-

http://while-were-young.com