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Inland Empire | |||
R E V I E W B Y R I C H C L I N E |
dir-scr David Lynch with Laura Dern, Jeremy Irons, Justin Theroux, Harry Dean Stanton, Peter J Lucas, Karolina Gruszka, Jan Hench, Grace Zabriskie, Diane Ladd, Mary Steenburgen, Julia Ormond, Laura Harring, Nae, Isabella Rossellini, Nastassja Kinski, William H Macy release US 6.Dec.06, UK 9.Mar.07 06/US Studio Canal 2h52 You've got to swing your hips now: Dern and the girls
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David Lynch again deploys his genius in all its infuriating impenetrability. This is an astonishingly moving, gripping examination of identity and ambition. Or something like that.
Nikki Grace (Dern) is an actress living the high life with her wealthy and extremely possessive Polish husband (Lucas). This is a problem when her new costar (Theroux) is a notorious womaniser, and the film they're making with a British director (Irons) is a torrid romance. But as they begin to fall for each other, Nikki's life fragments into her character, herself and a trapped prostitute (Gruszka) in Poland who might be fantasising the whole thing. Of course, it wouldn't be Lynch without creepy characters appearing out of nowhere to make ominous pronouncements, such as Zabriskie's gonzo neighbour, Steenburgen's dazed bill collector, Ormond's screwdriver-wielding jealous wife, a bunch of dancing girls and a trio of giant bunnies (voiced by Harring, Naomi Watts and Scott Coffey). Like Mulholland Drive, after an initially coherent set-up, the story shatters into seemingly irrelevant pieces. And yet, Lynch has a gift for making this work. Despite his bizarro style, Lynch's films are far more engaging than over-structured, formulaic mainstream movies. While watching, we have no idea why we're terrified, thrilled, entertained or disturbed. But we these are authentic reactions. And the more we try to figure out the puzzle, the more it sucks us in. Of course, the solid cast helps. Dern is amazingly raw in a demanding freak-out of a role. Like everyone else in the cast, even when she's playing it stiff and strange, it works brilliantly. This is the first time Lynch has shot digitally, which sometimes makes his trademark imagery (red curtains, blue doors, sweaty close-ups) more unsettling than usual. Especially combined with offbeat lighting, editing that's both jarring and fluid, a soundtrack of groaning tones and eclectic songs, and sometimes the heavy visual graininess of Eraserhead. So what's it all about? Maybe that we have to choose between real life and the movie we wish we were living. Maybe that star stalkers can really mess you up. Does it really matter what it's about? It's simply amazing.
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j tate, Pa: "I have seen this film three times now and I can tell you that I find is to be a Lynch masterpiece. During the first hour of the movie, the viewer is set up to follow Dern's character into a beautiful and terrifing world of ominous hallways and scathing shadows. I really like how Lynch uses a heartbeat-like sound effect to draw us towards the impending psycological rift that nikki will have to cross over (this being the curse imprisoning the weeping polish 'lost girl'). In the end, it is a story of a hero's journey to save the life of a women in touble and perform the task of snuffing out the evil phantom who has imprisoned at least one woman's soul in the inland empire." (22.Jan.07) | |||
© 2006 by Rich Cline, Shadows on the Wall
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