Well that was kinda shit.
It's just a worse version of Mullholland Drive with characters i didn't care about and unfitting music (Rammstein...really?).
I really like Lynch but this just didn't do it for me and dropped off badly after the character changeover. Before that point it felt like a decent horror film of sone kind but it got boring really quickly.
But i would love to hear what you guys think about Lost Highway!
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Lost highway is better than mullhand drive. Better characters, atmosphere, and much, much more kino overall.
I'm with OP on this. I still like and appreciate the movie, but Lynch did just about everything better in Mulholland Dr.
I can't agree with you but it's interesting to hear your difference of opinion. There were good moments in LH for me but they were just so few and far between and mainly in the first half whereas MD just flows so well for me and never gets boring for a second.
Yeah i was kinda thinking as i watched it 'this cant just be a proto MD can it? There must be something more' but nope. Even the mystery man basically echoed the cowboy and stuff. Blue velvet was also good because it did something different too.
shit opinion. The soundtrack is balls to the walls awesome and fitting as fuck. Everything about this movie is Mull. Drive but on steroids. Both are fantastic but I really like the rawness here.
Check your steam messages.
I dont know user i thought it was shit despite there being some kino cinematography. I couldn't take the music seriously except the bowie track which was pretty neat. It reminded me of nymphomania by lars von trier, and not in a good way.
I know you think my opinion is shitty but is it the kind of film you appreciate after rewatching it or something. Genuinely curious because i dont really fancy watching an hour of some teenager doing teenager stuff to 90s metal for quite some time
>because i dont really fancy watching an hour of some teenager doing teenager stuff to 90s metal for quite some time
It's not that though. You're watching a man desperately trying to convince himself he didn't kill his wife and slowly coming to terms with what he did.
>described as a dark psyco-sexual thriller
>75% of it is a comedy
At least Lost Highway was what it presented itself as.
Blue Velvet is still the best film Lynch has made.
>I really like Lynch
>but I don't know his best movie when I see it
3good5u obv.
>version of Mullholland Drive
LH came out 4 years earlier. Besides, all Lynch movies are Blue Velvet ripoff.
I watched this for the first time last week and fucking loved it. Great atmosphere, touched on all the culty noir and horror themes that really thumb my plums.
> (You)
>>because i dont really fancy watching an hour of some teenager doing teenager stuff to 90s metal for quite some time
>It's not that though. You're watching a man desperately trying to convince himself he didn't kill his wife and slowly coming to terms with what he did.
That's very true but i just didn't feel the desperation at all or spot the clues like i did for mullholland drive, where you can feel that something is very very wrong even on a subconscious level.
MD worked for me because it felt like a dream/nightmare i could relate to as similar stuff had happened to me. The two characters in LH just didnt feel that linked to be honest. Even stuff like the nudity felt kinda forced to me and i didnt feel thay way about BV or MD either.
It's a bit of a wierd one. I feel like some of the scenes are gonna stay with me for a while though. Just wish the second half lived up to the horror kino in the first half. Was scared shitless in that bit after the party
What part of mullholland is a comedy? Let alone 3/4 of it.
Maybe your opinion would actually hold some weight if you explained it instead of memeing
This.
>The two characters in LH just didnt feel that linked to be honest
So you're clinically braindead and can't understand the most basic duality Lynch has ever put to screen.
Either rewatch the movie or read some theories or do something besides post on Sup Forums until you've watched it at least twice. Good day. Don't reply to my post.
Hi.
Autism detected.
>What part of mullholland is a comedy? Let alone 3/4 of it.
The majority of the dream is a comedy. Once Naomi Watts comes into the film it's mostly a comedy, until they find the body in the house.
Scenes like this:
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Adam's wife cheating on him etc.
There's plenty of comedy. Not enough 'dark psycho-sexual thriller'.
OP detected.
But it's not eraser head, shit not even Elephant Man, honestly think Lost Highway is his best? neck yourself tbqfh
>that smashing pumpkins song
Fair point. I guess i saw it as more absurd than funny but it could be classed as comedy quite easily i suppose. Film is perfect anyway, whatever it is.
Just stop
>Just stop.
Why are you defending someone who sees a Lynch film once and complains he doesn't grasp it?
>Film is perfect anyway, whatever it is.
It's a disappointment is what it is. It's not what it was advertised as. It's a good film, maybe even great, but Lynch or the marketing team set me up for disappointment, and I was not pleasantly surprised enough to justify it.
and what's wrong with rammstein?
Were her tits kino?
I've watched eraserhead (which i love), mulholland dr (which i like), and Tp/fwwm(very good)
where do i go from here? I was thinking blue velvet?
Mulholland Dr was made when straight white folks still pushed the idea that lesbianism is wrong so yes back then it was a "dark psycho-sexual thriller" because most people truly believed the act of two girls kissing would send them straight to hell.
Yeah it's good. Just let it wash over you and enjoy the atmosphere and the GOAT film villain IMO. Thought it was meh on my first watch but loved it the second time around
Yes. Blue Velvet or The Elephant Man.
Yea they were great IRL titties, not the Hollywood kind. I wish she'd get them out again now that she's in mommy mode.
Rabbits is the ultimate Lynch, anyone who disagrees is a confirmed pleb and his opinion is irrelevant
Blue Velvet is one of his most straightforward movies but it's really good.
>That scene with This magic moment
Pure kinography
This film made me depressed cause i need to get laid so badly...
You really like Lynch yet you haven't seen his most famous movie? Sure buddy
Which would be..?
Hard disagree, user. This is my favorite Lynch film.
Mulholland Drive
>Elephant Man
I felt similarly to OP when I first watched it but it has since grown on me. Has some KINO moments like the first Saxaphone scene, the Mystery Man at the party, the sex scene where he can't cum, the sex scene in the desert, and the hallway reveal scene.
But i have seen it. Fav film ever.
Inb4 pl3b
I'm not gonna lie. When the guy spits out his expresso and everyone loses their shit i laughed pretty hard.
I liked it a lot more than mulholland drive but i think it was a lot worse, odd.
Mulholland Drive is one of the pinnacles of cinema. It's one of the masterpieces of film history.
Lost Highway is a nice movie, a very underrated one just like Twin Peaks: Fire Walk with Me.
The only other masterpiece Lynch has made is Eraserhead. Blue Velvet is a great movie but way too straightforward. Inland Empire is way too impenetrable.
>Mulholland Drive is one of the pinnacles of cinema. It's one of the masterpieces of film history.
whoah lad let's not go that far
But it is and I'm not alone thinking of that. It's a fucking deep movie and perfect in every technical and thematic way.
I think Blue Velvet is underrated and underestimated by a lot of Lynch fans. It's straightforward compared to something like Lost Highway but it's also a pretty complex film with some amazing atmosphere and surreal sequences. It just doesn't feel as fresh today because the whole dark side of suburbia thing was done to death and without any subtlety by the 1990's.
it's literally lost highway but executed a little better
Lel, no it isn't. Lost highway follows and tells a story (the story of a cuck). Mullholand Drive is just : "dude dream lmao", and you now that at the very end.
>it's literally lost highway but made easier for the plebs
ftfy
How is that "literally"? Mulholland Drive is a whole different story with strong psychoanalytical themes. It's actually one of the most realist films Lynch has made because it doesn't dwelve on mysterious disappearances or beings from other realms.
The cinematography isn't that great though. Compare to to Lost Highway and Fire Walk with me and it's no where near as good looking.
The twist certainly feels like a revamped Lost Highway, but there is all the self reflexive elements about performance in both identity and acting, and the creation of film as the creation of a fantasy world. I think Mulholland Drive's twist also works better because Betty's world is a work of beauty, not just guilty displacement. Mulholland Drive is about dreams and LA is a city of dreams, dreams of fame, dreams manifest as film, and literal dreams.
We also see the consequences of the fantasy world unravelling in Mulholland Drive as opposed to Lost Highway which has a kind of cliffhanger circularity. Then you add the great lead acting, and the bit parts like The Cowboy, Winkie's, and Club Silencio, and you've got a very different experience and a much more thematically rich film.
>Mulholland Drive is a whole different story
It's really not
I think it's just a bit worse than MD, though sometimes I do feel it's better. It's really close. It's still pretty high in Lynch's filmography for me overall. It, MD, and IE are his bests.
I understand that and you got a fair point. I'm not gonna argue, there's a whole lot to say about that movie and its complex undertones about the darkness inside suburban life and the darkness inside our psychosexual minds. I just don't agree it's underrated - a lot of movie fans absolutely adore it. I just think it's way too Hollywood-like. I didn't usually agree with Roger Ebert but the guy had a point when he said it was as if David Lynch didn't want to make the movie he wanted to. He started slowly freeing himself after Lost Highway. Blue Velvet is great but it feels a little bit dishonest, artistically.
Well, then argue. I'm not gonna accept something because you say it's not; if you need to prove something, make arguments.
no fuck off, you get what i give you.
Inland Empire is far and away his best. After it us a power gap and then his other movies. I keep hearing people comparing the new Twin Peaks season to it but I don't think it's even a fraction as good.
Alright, then. I still think Mulholland Drive is much superior than Lost Highway.
I agree but I enjoyed LH a lot more
lel
You can call me a pleb or whatever you want but I don't understand Lynch at all.
I just want to have a coherent narrative, it doesn't have to be simple - make it as complex as you like, I don't need full resolution - leave as many questions unanswered at the end for me to think about as you want, I just want a story.
How do I into Lynch? do I just need to accept that I'm not going to get coherence?
It feels to me like it's being coy with its Hollywood structure though. The ending can only be read as ironic, it's a resignation, Jeffrey turning a blind eye to what he has discovered at the heart of the town and in his own mind. It's about the willful ignorance of self repressing conservative America, and it explores this through the viewing public's need for a happy ending.
Like I said it doesn't sound so fresh today, but I think Lynch knew what he was doing and made exactly the kind of film he wanted to. He knew how to give the audience what they wanted and make them question why it was they wanted that.
Straight story is underrated
His movies (and series) are a labyrinthine puzzle but they have total internal coherence. I'd say watch them and, fuck it, read interpretations online after that. I don't usually agree with doing this kind of thing but for Lynch it's very worthwhile; very rewarding. You'll see.
Lynch is pretty coherent though. He uses expressionistic storytelling and inexplicable dream imagery, but his characters always have clear cut motivations and their narratives usually follow clearly traceable arcs.
Maybe try Blue Velvet, which is probably his most accessible film to also carry his trademark aesthetic and themes.
Out of curiosity, what have you watched by him?
Wild at Heart is the best Lynch movie.
Is Wild At Heart any good?
Every one of his movies except maybe Inland Empire fits what you want. Eraserhead maybe too but I haven't watched it in a while.
That's a very interesting take on that ending. I never thought of that. Damn, am I really having this kind of healthy discussion on Sup Forums?
Eraserhead is very expressionist in style, but besides the dream sequences it's very thematically obvious and easy to follow.
really? what does the lever man mean then?
yes it's fucking awesome
>Mulhopland Drive has strong psychoanalytical themes
>Lost Highway doesn't
Yeah I think you need to watch Lost Highway. The main plot at its core revolves around some pretty base Freudian shit.
I really liked twin peaks and fire walk with me, and I actually did enjoy Blue Velvet.
Unfortunately I then decided to try watching Inland Empire which lost me, and I've just seen the first 2 parts of Twin Peaks the return and feeling completely lost. I guess it's more from reputation than anything that I've assumed all his films are like this and I'm just an ignorant fucktard. I'll give Mulholland Drive a go tomorrow
*rewatch
although maybe I was right the first time, who knows
Think of it like viewing the mind of a character instead of following the character through concrete events. The inconsistencies lie in the subjective nature of memory and the deceit of fantasy but you can draw out the film's internal logic through the omissions that memory/fantasy is structured around.
To elaborate, he lets Frank be his villain, and lets killing Frank end his coming of age thirst for truth and experience. By externalizing his darkness and putting it onto a man who he kills, he expels it from his mind, but of course the darkness is still lurking.
I don't think Lynch codes his imagery that way, the lever itself doesn't "mean" anything specific, but the man who operates the level plays the role of a machinist, an observer, or creator. Look at how he initiates the impregnation scene at the beginning, and how he pulls the lever when Henry dies. It's easy to think of him as the man behind the curtains controlling Henry's life, whether you believe that to be something psychological in Henry's mind or more of a God figure.
W-wait... when does Henry die?
WHAT THE ACTUAL FUCK? REEEEEEEEEEEEEEEEEEEEE
>spends a career exposing the dark, seething, seedy underbelly of American society
>makes wholesome mainstream Oscar-bait which contradicts everything he's done beforehand
It was a sell-out, pure and simple. Fuck the Straight Story.
Maybe I've overstepped my boundary here and given you my own interpretation. Maybe he doesn't, in which case, you could at least see the observer figure as pulling the lever and ending the show.
You know, I disagree it's underrated, it is what it is but I wouldn't say it's Oscar bait either. The film is just a series of segments. Scene after scene without building much. It's just a minimalistic simple story being told, it's not a huge Oscar bait production. It's not even that tearjerking. The Elephant Man is David Lynch's Oscar bait movie.
good post, i agree with everything you say
I'm also curious about what Sup Forums think of Wild at Heart.
You know why I wear this jacket?
After Dune it's his worst film. It isn't bad, just a lot weaker compared to every other film he's made.
Shhh, don't mention the D word in this thread.
It's a feelgood movie. By David Lynch.
It's dripping with so much fake sincerity it makes me want to puke.
It's my favorite Lynch film. But uhh..hey, that's just my opinion maannnn
Chillax, my brother. This is his most experimental movie, as Lynch himself put it. It was an exercise in simplicity.
great ending
is it me or does lynch usually nail endings in his films?
So what I'm gathering in this thread is the reasons why people dislike David Lynch movies:
- The Elephant Man: too sentimental and Oscar-bait.
- Dune: oh, well...
- Blue Velvet: too straight-forward.
- Wild at Heart: it pales hardly in weakness compared to his other films.
- Twin Peaks: Fire Walk with Me: people didn't mention it here substantially but it always gets fired upon for being too dependent on the series to enjoy.
- Lost Highway: a weaker version of Mulholland Drive.
- The Straight Story: too normie.
- Mulholland Drive: a weaker version of Lost Highway.
- Inland Empire: too impenetrable.
The only universally loved movie by him seems to be Eraserhead.
>too dependent on the series to enjoy.
Never saw a single episode of Twin Peaks, but legit loved FWWM.
It even made a kind of sense too.
You say that as if Lynch is incapable of feeling positive emotions.
Inland Empire is the hardest Lynch film. Its his magnum opus and a true reflection of lynchs creative sensitivity. Mullholland Drive is still quite confusing on the first watch and youll most likely have to read about it online afterwards
Anyone got a link to a higher quality torrent of this?
Lost Highway is pretty simple and understandable to me. It's the OJ Simpson thing. He killed his wife, he's on the electric chair, and he creates a character in his fantasy of the guy who did it.
He imagines his wife in persona of a gigantic whore who fucks tons of random dudes and is always naked, who probably deserves what she gets.
I'm looking for a cinema analysis I saw of Mulholland Drive earlier this year. It was something about how Mulholland Drive's visuals had elements that resembled a film strip, a lot of vertical lines. So the entire screen represented different frames on a physical strip- with the perforations on top and bottom. The frame was often divided into different "squares"
I can't remember if it was a youtube video or an essay. But I remember the picture it used, maybe in a youtube thumbnail, was of Betty, on the outside of a front door talking I think to Coco the hotel managers on the inside of a front door. And the outside was one frame of the film strip and the inside was another.
Or it might have been about Lost Highway? But I remember thinking "if I ever see Mulholland Drive I gotta read this essay/watch this video." And on the weekend I watched it, and now I can't find this essay.