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

Room

(Canada/Ireland 2015)

Although shortened and accelerated, Room is still a fitting adaptation true to Emma Donoghue’s novel. Some of the nuance is lost in transition from page to screen, but the story is told as much as it probably can be on film from the point of view of Jack (Jacob Tremblay), whose fifth birthday begins our involvement. Tremblay, who is seven years old, does an astounding job; he uses silence as much as sound to convey what’s going on in Jack’s head. Brie Larson as Jack’s mother, Joy, is quietly intense, at least until later; when she explodes, however, her intensity is a bit overdone. Old Nick (Sean Bridgers) initially is shown only in intermittent bits and pieces, keeping his role in the story a mystery– a nice touch. Joan Allen and Tom McCamus, the latter arguably the sole redeeming male character aside from Jack, serve as calming anchors. William H. Macy appears very briefly as Joy’s father.

Director Lenny Abrahamson definitely gives us the claustrophobic feel of “Room.” His depiction of Jack’s foray into “World” about halfway through is the most intense and suspenseful part of the film; I literally held my breath at points. It was done really well, using choppy, moving camera work and tweaky color to illustrate the foreign, unfamiliar appearance of mundane objects to Jack– and how trippy his first experience outside is for him. The rest of the film is quieter, focusing on both Jack and his mother’s assimilation into the real world (Akron, Ohio, in the film– I don’t remember that from the book). I suspect most will agree that the first half of Room is far more compelling.  Still, it’s worth seeing and the story will stick with you after it’s over.

(Landmark Century) B

http://roomthemovie.com/#/