[Georg Seeßlen EDP in the film 4 / 2007 on David Lynch and Inland Empire] (... continued ...)
INLAND EMPIRE, David Lynch's first movie, shot on digital video equipment, was and is over with a directness, a bizarre-date, as if the dream no longer be removed on celluloid, but as present and provisional. The work of art that given its technical reproduction. The faster and cheaper way of working now led possibly to produce quantities that bring the experienced cinema audiences to the edge of his attention span. Three hours Inland Empire, also a pure perception psychologically 'wrong time'. It was perhaps something of a digest summary of the Lynchismus, perhaps the first "Lynch film" of David Lynch. As so often with this author, one might have the impression that it is at once a conclusion and a new beginning.
Lynch turning to digital tried to post the video on his website and in the material, as he himself says, "love." He praises the "new freedom" which one wins in turning and in post production with it. "For me there is no way back for the film," says the author, which may combine aesthetic and economic decision forced together. DV is an experimental material for the audio-visual artist who works out of his head, as it and make no concessions and no more grueling negotiations with the production side, everything will run. What emerges now is so pure Lynch as a painter, whom you can work with his colors and his canvas, without him to interfere.
arose during the previous Lynch films, an open system of closed-odd images (each setting was like a painting), it now arises in part from open and unfinished in some way images. In fact, played this time also pre-work, some installations, photo projects (some issued them in the retrospective at the Fondation Cartier in Paris) as well as autonomous films (Darkened Room, Rabbits) a more important role in a process that is largely due to collage and have thus and collection and review. The 'dialogue' from about Rabbits that were in the original film as nothing concrete poetry, wondrous void get in Inland Empire is now a new feature: 'mean' you, they provide samples of the composition and, once again, the Dechiffrierungsspiels. The Internet also plays in the art concept of the David Lynch a different role than in the commercialization process of the traditional media multiplications audio visual products. There are working drawings, sketches, partial deliveries that get the Lynch community and to have an influence in which they can. The beginnings of Inland Empire consists of short films, has realized the Lynch for the network or in it. The film Inland Empire is the center of a larger art project, which in turn is a summary of the major art project, David Lynch.
This Lynch certainly lose a little of what it in his career so far so unique, the ability, the freedom of his art in the dream factory to take himself and the 'Twin Peaks' even in the municipality of prime time television. Well, long ago with the rank of a classic, it can work away from the industrial railways, very free, but a little isolated. His new way of working is a medium of "huge exploration" (quoting Lynch), and finally allowed another DV work with the actors. They play a certain extent not to cut or end of the footage, but to your own exhaustion. A kind of anti-image work can be observed there. The performance is certainly unnecessary, Laura Dern in particular seems to increase in the situation "to excess", as they say. Dern 'is' not 'is' exploring them. You can imagine how great must be respect and trust between government and representation, and one can imagine the role that light and moving material plays.
INLAND EMPIRE describes a certain state, but at the same time it is also a very real place, a dark area on the border in the eastern desert near Los Angeles. The glamorous side of the city that played in 'Mulholland Drive' not such a significant role, not present here. Again, it's about two women whose paths and appearances are intertwined, and again one of them a blonde movie star. However, this time not at the beginning, but probably on a line between peak and end of your career. A kind of prologue describes an act of exchange of love and money, man and woman in a hotel without identity, as it digitally erased the faces. Only then will receive after the husband left her, the wife of a face: a dark-haired young woman in a lonely, old hotel room. She cries on television during a typical comedy show is running, the screen light is reflected in her eyes. A couch (again, facing the 'imaginary' television as they are from Al Bundy and his family knows) in the living room behind the kitchen and the ironing board. Sentences without meaning, door open and close, to laughter from the band. Everything as usual. Only that the people who in this ambience huge rabbit heads.
And there is this famous yet distinguished actress, Nikki Grace, in his thirties, maybe, she gets in her palatial villa to visit a mysterious new neighbor (Grace Zabriskie, we know from 'Lynch Ville'), that huge eyes opened strange sayings and an obviously Eastern European (Polish) accent a bad game. It begins with the usual small talk, the ambiguity will not be noticed ("I hear you have a new role "), and found two little parables, Polish fairy tales, said: When the boy went out into the world to play, was born evil and followed him. When the girl went out to play, it lost itself in the marketplace. The wife of Nikki Grace seems to know far too much to be a harmless neighbor. And another thing she anticipates the event of a civilized conversation in the world of dirty words. That they are "that kind of talk" may not endure, "says Nikki, which may belong to the obscene words as to the prophecies of the guest. For the "neighbor" Nikki has warned against accepting the role for you the project "On High in Blue Tomorrows" is available. There, she says, waiting for the demons. How true.
The 'oracle' of the new neighbor is not only an account of what happens in the world of the (cinematic) role-playing, it is an interpretation of what is coming, though neither the only nor even the ' right '. But the easiest way to access INLAND EMPIRE is the conversation between the neighbor and Nikki Grace, as it word for word to use as a model for the coming events as well as the constellation of Rabbits show. It is, more precisely, a prophecy that Nikki knows enough to fill them with fear, and too little in order to guard against the coming calamity. "Ees eet about marriage?" Asks the neighbor to the cunning nature of the witches. That's what it will work. So again, the film tells the story of an actress who missed the film work, the return to reality and falls deeper from one nightmare to another, but he also tells the story of a marriage, a fraud, a jealousy and a murder. The samples for the movie to start. The director Kingsley, played by Jeremy Irons as very British self-quotation, explains that the film should be shot once before in Poland. But the two leads were murdered, and the Shooting stopped. The story, moreover, go back to an old gypsy legend, as if the curse still not enough. But Nikki and her co-star Devon to let them not take their chance, for Nikki, it is mostly a chance for a comeback, perhaps the last. But something else is obviously more important: the marriage on the side of the jealous rich Polish husband (Peter J. Lucas), they can not fill, playing in front of the camera is their only chance of dissatisfaction to escape their prison. It's not just about the career, it's about life. But the man recognizes the danger. If they start an affair with Devon, he warns, will have serious consequences. Nikki longs to exceed this limit, and it loses the boundaries between dream and reality under the guidance of sexuality. The nightmare, or the sequence of nightmares, that is, we are still at the level of simple explanations, the interplay of desire and prohibition. The circling of pleasure and fear. Dream work. Triggered by one of the dark fathers, their property, the woman to say with unspeakable violence to maintain Lynch Ville. Whether Nikki and Devon have an affair with each other or at least 'only' Sue and Billy, the characters they play that loses its clear difference. But that's not so surprising. Dreams we do not live what we can not? And we dream not for any sin with the punishment?
The whole thing is also interpreted as a fairy tale of Hansel and Gretel, perhaps also the neighbor said, or is Nikki Grace, a new Snow White, is to receive from the evil witch, the poisoned apple? Remember, he was made a healthy and a fatal half. And so must flee Snow White, in a wilderness, where they flee, for example, seven dwarfs (seven prostitutes, seven of the dancers' Loco-Motion ") seeking refuge, about to be murdered, or even a murderer to be. Certainly it (but again a double of the doppelganger) a look-alike; an old haunts in a new film, one was, who never finished in one, the result is just. More and more mixed film, reality and film within a film. From one door to another, the situation of the heroine is bleak and desperate, more and more must to be left completely alone to feel more and more scared her companion. Behind the rather melodramatic story of 'On High in Blue Tomorrows' lurks a different, sinister history. Sue Blue and Nikki Grace, mercy or darkness, are here in a dark house, together with a group of women, a chorus of whores, and they connect the story with another, in a wintry Poland town, sometime in the thirties plays, and on the dirty Hollywood Boulevard of the present. And from then on back to make a film. What is, however, always is: the power of men and the suffering of women.
Nikki 'dies' in front of the camera, and begrudge Lynch her, in the community stranded on the road, which all have their stories again, a remarkably beautiful scene. But not so ends Lynch - Nikki must change once more the pages, and it changes consistently on the audience. In the cinema she looks at herself on screen, this space between us and the film Lynch has cut out so far, and it falls back immediately into the dream (in the rabbit under the rabbit hole) and, vice versa The film ends with a direct statement of the actors to the audience, they must assure us that this 'only' was a film (and of course just feeds the doubts that insurance). The two women say goodbye to speak before the curtain; "hot weird," says one, how to anticipate the verdict of the spectator.
How 'Mulholland Drive' can also describe Inland Empire comparatively simple in its composition: it is a story in a story in a story in a story that is more or less the story that was before the first story. The number of gates is the number of inner stories, this in turn corresponds the number of medial reflections, between the stories there are again the same number of relationships. In the end, a story has unveiled literally by what she told her own story, which in turn ... As I said, it is an entirely logical and consistent structure. But is not it more than the statement said, a Chopin etude follow a musical logic to just get there, where the musical logic does not count anymore.
In Inland Empire has become Lynch's cinema to cinema of the woman who brings the work of art in the world, in pain, certainly. Laura Dern is the perfect woman while Lynchian, it is not only her versatility and her courage to alienation, but also the willingness, the subject and the object of the tale of exploration at once. Accomplice in a research trip and victims alike. Lynch thanks with a tenderness that he showed as yet none of his female characters over and he shows the suffering of the woman this time without the sadism, which he developed in advance occasionally. One might almost think, INLAND EMPIRE is a picture of fear, which is itself free from fear. A Lynch film, which is a Laura Dern movie. Perhaps you could also just say David Lynch's INLAND EMPIRE is first love film.
Last part of an essay by George Seeßlen © 2007 EDP film. At the request of Mr. Lynch here reproduced Attribution "Inland Empire" in the Inland Empire has been changed.
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