- Joined
- Jun 20, 2004
- Messages
- 3,527
- Real Name
- Richard W
I love everything David Lynch does. His films and his books. He's a surrealist, and a true artist. INLAND EMPIRE is a fine improvisation, but it doesn't engage me or move me the way MULHOLLAND DRIVE did. Perhaps because it's so loose and untidy. Often the angles on Laura Dern are unflattering. Always at a low angle looking up her nostrils. That bothered me.
I have difficulty suspending disbelief in movies that are about making movies. A film about film making draws attention to itself as a process, and all sense of dramatic tension dissipates into nothing. This is why the second half works better for me. Seeing Laura Dern as a bruised and strung out street prostitute is more connected to how people actually live, and Dern's performance feels grounded in these scenes. Then the camera pulls back to reveal the camera shooting the camera shooting the scene, and my empathy dissipates.
Julia Ormand's performance is highly charged emotionally. She conveys the feeling of risk, of danger. Why don't directors take more notice of her enormous talent. She's doing something interesting here, and I would have liked to see more of her.
I have difficulty suspending disbelief in movies that are about making movies. A film about film making draws attention to itself as a process, and all sense of dramatic tension dissipates into nothing. This is why the second half works better for me. Seeing Laura Dern as a bruised and strung out street prostitute is more connected to how people actually live, and Dern's performance feels grounded in these scenes. Then the camera pulls back to reveal the camera shooting the camera shooting the scene, and my empathy dissipates.
Julia Ormand's performance is highly charged emotionally. She conveys the feeling of risk, of danger. Why don't directors take more notice of her enormous talent. She's doing something interesting here, and I would have liked to see more of her.