David Lynch's Inland Empire - Movie Review Example

Download file to see previous pages It is essential to realize Lynch's work as an anticipation of the independent aesthetic which has assumed a superior position in Hollywood in the recent past. Lynch's entry into mainstream movie-making, from fine art and mixed media, happened at a time when film industry was in a state of economic and technological transformation. "After Eraserhead (1977) and The Elephant Man (1980), he took the opportunity of Dune (1984) to gain access to a system of production that has consistently appeared puzzled by or suspicious of his ways of seeing From the art-house avant-garde of Eraserhead, to the blockbuster Dune, the television serial Twin Peaks (1990), the porn video culture of Lost Highway (1997) and the 'Disney' family film The Straight Story (1999), Lynch's films give aesthetic form to the synergies of post-classical Hollywood in a way no other contemporary film-maker's work has done." (Sheen and Davison, 2) It is important to note that Lynch's work has been distinctively situated at the nexus of changing systems of distribution and exhibition since 1984 and these changes include the introduction of video and play television at the end of the 1970s and across the 1980s, the rise of the multiplex, with its extended market reach, and the growth of the regional independent cinemas. Most essentially, Lynch's works exhibit an intensely creative approach to the activity of production which can be compared to the classical directors' works which have brought European aesthetic traditions to the studio-system working practices. Inland Empire effectively illustrates Lynch's filmic style and cinematic message and this film significantly continues the director's commentary on Hollywood that he began with his previous works.
In a reflective exploration of the film Inland Empire confirms that it very clearly illustrates David Lynch's filmic style and cinematic message, and the creation of this film has been in line with his previous films such as Eraserhead, Mullholand Drive, Blue Velvet, Lost Highway, and Wild at Heart. In this new film, the great eroto-surrealist David Lynch has offered one of the important imaginary orifices of pleasure, which is fascinating and enjoyable. Significantly, Inland Empire can best be comprehended as a supernatural mystery thriller, wherein a vanilla-wholesome Hollywood actress called Nikki Grace accepts the heroine's role in a passionate southern drama about adultery and murder, working with a mischievously handsome actor and an elegant British director. However, to the bafflement and terrified dismay of Nikki Grace, played with unyielding composure and intelligence by Laura Dern, she discovers that the script of the work is a remake of a lost, uncompleted Polish film, and she realizes that the project is curse. It is important to realize that Lynch's new film very well represents his filmic style and cinematic message. As Peter Bradshaw maintains, "Inland Empire is, as with so many of Lynch's movies, a meditation on the unacknowledged and unnoticed strangeness of Hollywood and movie-making in general, though I am bound to say that it does not have anything like Naomi Watts's marvelous 'audition' scenes in Mulholland Drive. The director's connoisseurship of Hollywood, his anthropologist eye for its alien rites, are however as keen as ever." (Bradshaw) Therefore, it is obvious that the new film by Lynch bring out various essential characteristics of a ...Download file to see next pagesRead More