I don't get it

I don't get it

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LET'S HIT THE FUCKIN ROAD

>FUCK THAT SHIT, PABST BLUE RIBBON

Do you know what a love letter is?

What was her major malfunction?

pretty preetttyyy

MOMMY...
BABY WANTS TO FUCK!

Give me one good reason why this isn't a perfect neo-noir.

How? It's very straightforward

What's there to get?
Fantastic film.

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this is one of lynch's most normal straightforward films

you don't have to get everything, OP

have you seen the Transformers series by the excellent director Michael Bay?

I know, that's what I don't get. It's so straightforward and simple, but it's so critically acclaimed. What's so special about it?

see

>Great direction
>Great acting
>Great use of music
>Well paced and edited
>Memorable characters
>Quotable dialogue
>Prime Kyle MacLachlan dick

What more could you want? Lynch's best film by a mile.

It just doesn't hold back at all. Can you think of a similar film that goes quite this far with the sex & violence? Dennis Hopper's first scene is probably one of the best villain introductions of all time, the first time I watched this movie I couldn't believe what I was seeing. You don't know what the fuck you're even supposed to feel - he's so pathetic that it's kind of funny, but he's so aware of that fact and so violently protective of his dignity that it's scary at the same time.

Isabella Rossellini is just as good, as the victim that starts to like the way she's being treated and crave more. And Jeffrey's the perfect protagonist to balance it out, he's right there with the audience getting simultaneously turned on by Dorothy and ashamed of himself for feeling that way.

It's dealing with themes that other filmmakers just hint at, and cut away from, but Lynch and his cast just dive straight into it with no filter whatsoever. It couldn't be made again today, it couldn't be made 10 years earlier than it was, it's pretty fucking crazy that it was ever made at all, let alone treated as a classic. It's a testament to the value and appeal of "honest" writing & filmmaking - most directors would be terrified of going "too far" and outing themselves as perverts, but everyone can relate to this film on some level.

I first saw it when I was pretty much the same age as Jeffrey's character, which I think is the right time. Maybe I wouldn't have been so impressed with it if I was older, but I dunno. It's great.

IT'S A BULLET FROM A FUCKIN' GUN, FUCKER!

A candy colored clown they call the sandman...

>What more could you want?
an interesting story would be nice

It has a wonderful story, but I can understand why some would find the plot lacking. Learn the difference, pleb.

>le post modern face
Lynch dick suckers man.

There's nothing to get.

This is the one film that Lynch deserves to have his dick sucked for.

Considering that he got together with Isabella Rosselini shortly afterwards, I'd wager that he literally did

>Isabella Rosselini

more like Isabella Blowsaweeni

The film is part of a tradition of baby boomer directors in their prime (and general Sup Forums content) during the 70s and 80s, who attempt to tell their own "retro 1950s" and earlier stories, becuase they themselves have nostalgia for what they grew up with. Star Wars, American Graffiti, Raiders, Halloween, and Blue Velvet (Idyllic 50's-ish small town vs. dark underbelly leather-jacket rough trade) are all part of this tradition of boomer directors active around the 70s/80s.

The film is a strange and slightly surreal thriller, but "mainstreamed" just enough for broad appeal to an mature audience. In the end, the good guy wins, the evil man is defeated, the woman/village is saved, and justice is restored to the world. This morality arc, taken by itself, is very conventional and is also the stuff of old (50s and earlier) simple stories, mythology in general, and old film morality codes. That's why it's one of the better-liked entries in Lynch's ouevre (sic?): in the end, it tells a fairly simple story in a thrilling and memorable, if strange, way.

Best Sup Forums post of Q4 2017 thus far.

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>all the names are actually above the correct actor