Lynch, Finch, or Croney?

[Quorthon]

When you missed History of Violence, I think you really missed out. Easily one of the best films of the year--and one of the very few made for adults. A thing of beauty, that movie is.

[Termination]

Voted for David Fincher.

I love Panic Room, Fight Club, Se7en & The Game.

Quality over Quantity.

[Quorthon]

termination said:

Voted for David Fincher.

I love Panic Room, Fight Club, Se7en & The Game.

Quality over Quantity.

I think Panic Room is a far cry from the quality of Fight Club or Se7en. I really liked The Game, wildly imaginative as it is. I only liked Panic Room--I think it's a much weaker film than the other three you have there.

[Bartwald]

All these guys are great but Lynch's films hit me most - and that's why the vote; Se7en, Fight Club, The Fly or eXistenZ are all fine movies but none of them left me breathless like Mulholland Dr. or Lost Highway did.

[Quorthon]

I like Lynch and all, but Bart, you're the first person I know that liked Mulholland Drive. That ending was... well, what the fuck was that??

[Pulpmariachi]

I liked Mullholland Drive, but I was still like, "What the hell is with this ending?!" when I saw it.

[Bartwald]

I loved this ending - even though I can't really explain what happened there. No one can. And if they're saying they can - they lie. Mulholland Dr. is like the weirdest nightmare: no beginning, no end, no solution, the characters morphing into somebody else all the time... But it got under my skin, caressed my unconscious - and that's why I admire it so much. It's a dark sort of love, though.

[doru]

The answer is simple, but keep in mind that Lynch is teasing the spectator in many of his films, by cheating its cliche like expectations.

The film is flowing on a double circle. Imagine a circle on which there are two diametrically opposed points, A and B. There are two story lines, one from A to A and one from B to B, flowing in the same direction. The film starts from A and ends in A. Now, start from A, but with story B. Story B is at its middle, of course, the Mexican girl escapes murder. End of film, point A, is the middle of story B, white girl uses her inherited money to pay for the murder of the Mexican girl. (Americans use a lot of their money to keep the South poor, instead of providing civic education and basic necessities until they would take off. And most of us do the same.) Now, the story A, which is the same story with story B, but it is less represented in the film. We only see it at the middle of the film, in point B, which is also the middle of the story A, where the white girl is spiritually dead in her bed, after she paid for the murder of the Mexican girl who left her alone. And the white or the Mexican girl from story A is looking for the white girl's alter ego from story B, but her door is of course closed. The story repeats itself at a phase equal to pi, and becoming aware of this is an oriental waking up method. Lynch sees it and offers you a way to detach yourself. Beautiful, isn't it? Mandala

[doru]

Story A is the story of the white girl, who just comes into town at the beginning of the film. Story B is the story of the Mexican girl, who "appears" in the story in point B. For the Mexican girl, the murder attempt in point A is the middle of her story, which is story B.

[Bartwald]

I like the explanation... but let's not call it simple.

Who did you vote for in the poll, doru?

[Pulpmariachi]

That's an interesting explanation, but I think it's just one interpretation of it.

I don't think Lynch ever really says what his movies mean or are about exactly. Those 7 clues or whatever, I read, are bogus and were inserted there because the studio wanted Lynch to explain Mullholland Drive.

Personally, I've given up trying to explain what happens in Mullholland Drive, I think the movie is just that much more effective if you don't know what's going on.

Speaking of David Lynch, did anyone see that Martin Short movie "Jiminy Glick in Lala Land"? I saw a clip of him doing a Lynch impersonation. Pretty hilarious.

[doru]

I like it when I see it and I don't understand it, and I like it when I start to understand it.

I have seen the second half of David Cronenberg - The Fly and also the second half of David Frinchley - The Game (this is the one were Douglas lives many adventures on his birthday, unknowingly?). Anyway, I vote for Lynch with my both hands. Even when you cross the valley of death ... What I want to say is that, with Lynch, even in the darkest moments, love is still there, you remember ... "If there is no fun, there is no use in, you know, doing it" - David Lynch

Gee, films with Michel Douglas are always so pretentious... But he is a very great actor, only that he has to be taken out of this stupid style, which is more of his films than his as an actor. Or, he has to play in a film where this style fits, like "Wall Street". What do you think?

[Bartwald]

Some of his films are pretentious, sure, but I don't think Fincher's The Game is one of them - that's just lots of dark-hued fun with Douglas clearly enjoying the part. I liked this one a lot, even more so than Wall Street.

[slayrrr666]

Came upon my third ever film yesterday from Cronenberg (after The Fly and Rabid for those keeping track), Videodrome, and while I'm not in the slightest going to praise it like you guys did, this one wasn't nearly as bad as I thought it was going to be. The opening here is a bit of a disappointment, as the search for the mysterious transmissions and they're addictive quality takes over overthing, a little strange in itself as there's very little in them which would warrant such an attraction in the first place, beyond a hypnotic quality to them this isn't all that interesting or even in the slightest bit horror-related. When the discovery is made about the truth to their origins, it gets a little better and a bit more interesting, especially with it's more graphic and vivid hallucinations, before really getting good in the final part where he begins hunting them down, which really earns the film the most enjoyable parts overall. It's still hard to get over the fact that the original transmissions aren't that interesting to warrant such attention to them, and the overall plan doesn't make sense, but it's still interesting enough to warrant a watch.