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In Reply to: Re: Is Mulholland Drive better than Lost Highway? posted by caa on July 15, 2002 at 09:32:12:
But I disagree it's "weak".Mulholland Drive's certainly non-linear. Lynch isn't very interested in exploring straight forward narrative - which all the above films are, even though they are vriously comlex. (Pulp Fiction only "seems" complex, althbough it is ingenious...and busy. It's still pretty straightforward, merely interweaving time frames. Memento is multilayered but still linear, just backwards, and lol.)
Lynch has done conventional films - The Straight Story, The Elephant Man - but his heart's not really in that style. Blue Velvet & Mulholland Drive are into the dark side of human conscious and subconscious, exploring a level where linear storytelling will not suffice. If you must have plot and objectivity, better stay away from Lunch's mythopoeic cinematic musings.
Follow Ups:
Yes, "weak" is probably a poor choice. Actually, I like his works, and I think they, MD and Blue Velvet in particular, are somewhat entertaining. But that's all. For me, a good film should say something such as the dark side of human conscious and subconscious, which is easier to say than do. But it's not just about saying; its about showing and exploring convincingly, and I don't see that in Blue Velvet and Mulholland Drive. All I see is a psycho with strange sexual desires in BV, and a vague display of dreams in MD. Give me some time, I'll come up with a crazier psycho and even more twysted sequence of events.What I don't see is why or what motives?. Done well, it connects and convinces much more effectively than fictional reports. It's not just about the plot, or objectivity, or non-linearity. Its like when Angelina Jolie takes slow-motioned showers in Tomb Raider as an attempt of exploring sensuality. That is just saying, and not showing and exploring which requires more thoughts and efforts.
Another thing is about simplicity. There are things that lend themselves to complex manifestations and fancy techniques; others don't. Although Lynch's fans may characterize him that way, but I don't think he's like Tarantino who beats up the arts by showing the same card tricks to every guest to his house.
Of course, there's no hard rules in making arts; its a walk along the borderline, and it boils down personal tastes. Personally, MD is just a fancy crossword puzzle, which is still better than alot of what is out there.
Yes, "weak" is probably a poor choice. Actually, I like his works, and I think they, MD and Blue Velvet in particular, are somewhat entertaining. But that's all. For me, a good film should say something such as the dark side of human conscious and subconscious , which is easier to say than do. But it's not just about saying ; its about showing and exploring convincingly , and I don't see that in Blue Velvet and Mulholland Drive. All I see is a psycho with strange sexual desires in BV, and a vague display of dreams in MD. Give me some time, I'll come up with a crazier psycho and even more twysted sequence of events.What I don't see is why or what motives? . Done well, it connects and convinces much more effectively than fictional reports. It's not just about the plot, or objectivity, or non-linearity. Its like when Angelina Jolie takes slow-motioned showers in Tomb Raider as an attempt of exploring sensuality. That is just saying , and not showing and exploring which requires more thoughts and efforts.
Another thing is about simplicity. There are things that lend themselves to complex manifestations and fancy techniques; others don't. Although Lynch's fans may characterize him that way, but I don't think he's like Tarantino who beats up the arts by showing the same card tricks to every guest to his house.
Of course, there's no hard rules in making arts; its a walk along the borderline, and it boils down personal tastes. Personally, MD is just a fancy crossword puzzle, which is still better than alot of what is out there.
Yes, "weak" is probably a poor choice. Actually, I like his works, and I think they, MD and Blue Velvet in particular, are somewhat entertaining. But that's all. For me, a good film should say something such as the dark side of human conscious and subconscious , which is easier to say than do. But it's not just about saying ; its about showing and exploring convincingly , and I don't see that in Blue Velvet and Mulholland Drive. All I see is a psycho with strange sexual desires in BV, and a vague display of dreams in MD. Give me some time, I'll come up with a crazier psycho and even more twysted sequence of events.What I don't see is why or what motives? . Done well, it connects and convinces much more effectively than fictional reports. It's not just about the plot, or objectivity, or non-linearity. Its like when Angelina Jolie takes slow-motioned showers in Tomb Raider as an attempt of exploring sensuality. That is just saying , and not showing and exploring which requires more thoughts and efforts.
Another thing is about simplicity. There are things that lend themselves to complex manifestations and fancy techniques; others don't. Although Lynch's fans may characterize him that way, but I don't think he's like Tarantino who beats up the arts by showing the same card tricks to every guest to his house.
Of course, there's no hard rules in making arts; its a walk along the borderline, and it boils down personal tastes. Personally, MD is just a fancy crossword puzzle, which is still better than alot of what is out there.
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