[Georg Seeßeln in EPD Film 4 / 2007 on David Lynch and Inland Empire] David Lynch was in the eighties of the few directors who, after the failure of New Hollywood is a very unconventional film language were able to save in the dream factory: a writer whose career was marked by the struggle of the artist with the camera and of heights and depths was richer than most filmmakers of his generation. Early fame brought him under the the terms of the resulting Underground Movie 'Eraserhead' (1976), a, a sombre, encrypted, nightmarish and yet deeply funny work that also fit well with the idea of cult movies such as Midnight in the art galleries. With 'The Elephant Man' (1980) proved Lynch that he could deal with the realities of the professional and work-part film industry and Narrationsregeln follow, without losing its style will. But then came the film version of Frank Herbert's 'Dune - Dune' (1984) a true fiasco, the document of a lost battle, one of the most beautiful ruins movie of cinema history. Someone like Lynch could revolutionize the medium of cinema quality, but not the fantasy blockbuster.
A kind of peace offering between the production of De Laurentiis and the author had the opportunity to make a "small" Thriller, giving rise to 'Blue Velvet' (1986), a disturbing look at the night side of the American Province and a trip into the unconscious with entirely new products. 'Blue Velvet' was like a setting the tone for a cinema, which was later called "postmodern" and began to free themselves from the dictates of classical logic script. And 'Blue Velvet' also began the work of international Lynch-Dechiffrierungsverschwörung; at any other director to work the fans, the critics who Theorists and people who are a bit of it all, so as from the mysterious, allusive, confusing, beautiful, painted over several times, ironic and violent and not least, incredibly beautiful pictures of David Lynch.
With 'Wild At Heart (1990) Lynch shot a furious, but compared to the strictly composed' Blue Velvet 'almost playful and at the same time in its scenes of violence, even as an adult perceived variation of his motives, the newly-formed camp Lynch aficionados already split again. Once again Lynch threatened again crowded the center become the periphery of images production, especially as it is between the more film projects for the art- interest than for the cinema discourse. Between films, he organized exhibitions of his paintings, his photographs and his furniture creations turned bizarre music videos such as "Industrial Symphony" and refused it certainly based on his now undisputed "cult status" between pop and art and Hollywood, between trash and high -Culture, between Europe and the U.S., the usual dream factory rituals.
The next big comeback was jointly designed by Mark Frost television series' Twin Peaks' (1989), a "Mystery-Crime avant la lettre 'and a long, meandering journey to the social and sexual Background of a small town in the northern U.S.. Satire, mystery play, mystery, and the game did to the Lynchismen a fan base addicted, 'Twin Peaks' was one of the largest TV cults of the early nineties. Once again managed the feat of a totally stubborn, provocative and enforce still mysterious world of images on the mainstream market. Lynch was forced to end the series once again return to this magical place, and the film Twin Peaks 'Fire Walk With Me' (1992) he made an echo, which both audiences made a loss, those who want a continuation, and those who had requested an explanation for the TV series. At least commercially extremely unfortunate other television projects such as 'On the Air' followed commercials for Yves Saint Laurent and Calvin Klein, failed projects such as a film adaptation of Franz Kafka's 'Metamorphosis'. The film 'Lost Highway' (1996) was then already under very different conditions of production. Lynch's film was shot in his own house, for the modest budget provided the European partner of Canal Plus. In the United States gave the film no longer beyond the circle of art house, and while the Dechiffrierungskommandos back to the endless woven story of the murderer, who turns into another, and in a story that the bottom is a different story, rushed , was the enthusiasm of the cult, as did the recognition by the 'official' Hollywood. In the film, and philosophy seminars in Europe of course was 'Lost Highway' give rise to truly endless editing.
In a move that could certainly assume irony, turned David Lynch in 1999 then the movie, no one would have expected from him and called him 'The Straight Story' (German: 'A simple story '). A very human, seemingly simple story of an old man (called straight) who wants to see before his death, his brother again, to be reconciled after a long dispute with him, and for it with a converted lawn mower travels through America (through an America in which to break on all corners of the underworld threatens Lynchsche). Lynch had his peace with America and its stories made straight? With 'Mulholland Drive' (2001), the director returned to his unreal, reflected and interwoven narrative, and again he tells the story of a man - this time it is a young actress who comes to Hollywood - that goes beyond the boundaries between different stories and different identities device. 'Mulholland Drive' reconciled to aficionados of Lynchismus by the darkly beautiful mood, sex appeal, the music and the musicality of the dance of motives and obsessions of this Artist. And once again managed to capture David Lynch, the cinema with his art. But in the changing landscape of film adapted as a film 'Mulholland Drive' not as a signal of aesthetic revolt, but only as a respected film classics of modernism. Only a few critics noted that David Lynch is not only achieved a perfection of its resources, but also daring in his own work had a big step forward. You could read the films of David Lynch to 'Lost Highway' as encrypted, magic autobiographies (and mysterious, satirical image of America), he turns into the movie-within-film-films with female protagonists, especially its own medium and his own composition teaching. sex, violence, terror, shock, nightmares, miracles, death and something happens beyond it, reverse births, bizarre characters from fairy tales that are out of joint, the Lynch-iconography of the hotel hallways and flickering light, strange stage behind heavy curtains, the aesthetics of the slowdown, the industrial noise from an alien outside world, the weird musical numbers in between, the transfer of similarities in strangeness, the dream-within-dream sequences, the transcendence of images, the absurd Americana, David Lynch regulars, the construction of the act in autonomous cells, the return of signs and colors, even the movement of the protagonists the guidance of fear and desire - all this is also in David Lynch's recent work. But it is edited with such an awareness of form and with such inner strength that one can not help feeling, the greatest conceivable world, panic was there associated with the greatest potential I-composure.
David Lynch's turn to 'transcendental meditation' and 'Foundation for Consciousness-Based Education and World Peace' has obviously made his films at the surface is not peaceful and harmonious. If you see this in a Lynch film, it would not be clarified in any case, as it contains a lot of irony and refraction. And yet the system Lynch become more open. And the longing for the harmonic measure as overwhelming as the tenderness over the lonely suffering. The production conditions for Lynch's films are increasingly removed from those of the dream factory and approach those of the solitary artist's. Inland Empire, he has self-financed, with a little help from Canal Plus. Lynch's wife, Mary Sweeney took over the production, and on the budget there is silence, perhaps because in the traditional sense did not exist easily. The stars are certainly not have received the fees, as they are accustomed from poorer Hollywood productions, and their market value, they are not necessarily increase, they work from other subjects with David Lynch. Released in the U.S., the film no longer has a normal distribution, the director had the distribution and advertising (preferably via the Internet) take over. An indictment of the American film culture cursed critics who expected the film mostly with sympathy. But perhaps an entirely logical development. Lynch's 'application' for the Oscar was a similar operation between poetry and protest: He led a cow walking on Sunset Boulevard on which to draw your attention that Laura Dern deserves an Academy Award. There, however, while David Lynch and Laura Dern in Inland Empire reached executed, there is no more Oscars.
(... to be continued ...)
first 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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