Thursday, December 07, 2006
How did he tell it?
Today saw the nationwide release of the new David Lynch film, Inland Empire. As I had to be in the East Village to play a Buffalo Bison show this evening, I drove in early and spent the afternoon with this 179 minute opus. Lynch's previous film Mulholland Drive pretty much defined my cinematic tastes in the fall of senior year at Colgate. I have such wonderful memories of seeing it with Flynn at the Manlius Art Cinema, barely able to drive home. This latest picture is even more challenging and dense, as it employs signature Lynchian techniques with greater sophistication and frequency: elliptical narratives, dream logic, feminist undertones, meta-filmic thematics, formal ingenuity, and intertextuality -- echoes of Hitchcock, Kubric (The Shining), and Bergman (The Silence) are readily discernable. Another brilliant offering from America's premier auteur -- a distinction he recently inherited from the late Robert Altman.
Our show wasn't our best, but wasn't that bad either.
Today saw the nationwide release of the new David Lynch film, Inland Empire. As I had to be in the East Village to play a Buffalo Bison show this evening, I drove in early and spent the afternoon with this 179 minute opus. Lynch's previous film Mulholland Drive pretty much defined my cinematic tastes in the fall of senior year at Colgate. I have such wonderful memories of seeing it with Flynn at the Manlius Art Cinema, barely able to drive home. This latest picture is even more challenging and dense, as it employs signature Lynchian techniques with greater sophistication and frequency: elliptical narratives, dream logic, feminist undertones, meta-filmic thematics, formal ingenuity, and intertextuality -- echoes of Hitchcock, Kubric (The Shining), and Bergman (The Silence) are readily discernable. Another brilliant offering from America's premier auteur -- a distinction he recently inherited from the late Robert Altman.
Our show wasn't our best, but wasn't that bad either.
