Tag Archives: david lynch

David Lynch’s The Straight Story

Nothing says determination like driving a John Deere ride-on lawnmower nearly three hundred miles across two states to visit a loved one who is sick. David Lynch’s The Straight Story tells the tale of Alvin Straight (Richard Farnsworth), a man in his 80’s with failing eyesight and bad hips who can’t drive and therefore takes it upon himself to trawl his trusty mower, trailer in tow, across Iowa into Wisconsin to see his estranged brother (Harry Dean Stanton) who has had a massive stroke. It’s an unbelievable story but it really happened, and what’s more amazing and gives it authenticity you can’t fake is that Farnsworth, ever a trooper, was suffering from bone cancer throughout the shoot and champed it out anyways.

Straight, a WWII veteran with a tragic past, lives the quiet life with his daughter (Sissy Spacek) in a sleepy farming town until news of his brother Lyle’s condition reaches him. After buying a new mower from the local Deere dealer (a welcome cameo from Lynch regular Everett ‘Big Ed’ McGill) he sets out on a deeply personal solo voyage across hills, valleys, mountains, wheat fields, tree lined country roads and backwood fields. He meets and has poignant, clear eyed interaction with many folk along the way including a fellow vet, a pregnant teenage girl and a woman who can’t stop ploughing through deer on the interstate, which provides Lynch with the one sneaky opportunity to inject some of his trademark lunacy into the only Disney film he ever made.

There’s something so simple and so essential about both Alvin’s story and Lynch and Farnsworth’s methods of telling it to us. Even as the film opens we get a hazy aerial shot of golden fields in the evening sun and hear Angelo Badalamenti’s achingly beautiful, quietly reverent original score and a mood is set like no other. Everyone is decent and kind in this film, yet Lynch makes it very apparent that mistakes have been made and no one is perfect in their lives. Straight is just like his name, an open hearted fellow who has nothing left to withhold. He admits to losing years to alcohol, making mistakes in the war and falling out heavily with his brother years before. It’s a personal quest for him, and we get the sense that he won’t let anyone else drive him there out of sheer dedication to this final odyssey that will take him to his twilight years. It’s Lynch’s most benign film, but in no way is it dumbed down, sugar coated or blunted of an edge. The filmmaker has always been about truth wrapped in beauty, and all the desire to explore human nature is still on display here, only given a gentler, more elegiac touch. A masterpiece.

-Nate Hill

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David Lynch’s Lost Highway

High beams pierce a nocturnal interstate as David Bowie’s ‘I’m Deranged’ eerily cuts through a still night and we realize that David Lynch’s Lost Highway isn’t going to be your average road trip, let alone overall viewing experience. This is a fuzzy, feverish portrait of a fractured mind attempting to make sense of extremely distressing circumstances that are both alienating and possibly self inflicted. Lynch is always keen on probing the murky cerebral waters which border on potentially paranormal occurrences, and the often frustrating line, or lack thereof, which is drawn in, around and between these two aspects. Psychological terror, ambiguous scenes that leave you scratching your head once you’ve caught your breath, identity crisis, elliptical narratives that leave us haunted and wanting more are all tools in his bag, ones he’s employed countless times throughout his monolithic career. Usually he implements that in an esoteric, earthy way, but there’s something cold, clinical and unsettlingly voyeuristic about this that somewhat separates it from a lot of other stuff he’s done. The term ‘Lynchian’ in itself has become its own genre, there’s no debating that anymore. It’s usually within this self made realm that he explores, but it’s almost like with this one he went in with a mindset to play around with a sordid, almost De Palma-esque style of genre, and then inject it with his trademark eerie weirdness, in this case to great effect.

Bill Pullman stars as jazz trumpet player Fred, spending his nights belting out unnerving solos in smoky clubs. Pullman is an all American prototype, seen in a lot of generic, regular Joe roles. Observing him venture into sketchy material is jarring and super effective (see his career best work in David’s daughter Jen Lynch’s Surveillance for an even better example of this). He and his gorgeous wife Alice (Patricia Arquette) wake up one ominous morning to discover a packaged video tape on their doorstep, the contents of which show someone breaking into their house and filming them while they sleep. They feel both horrified and violated, and call the police who prove to be just south of useful. From there things get terrifically weird. Fred attends a party where he meets the Mystery Man (Robert Blake) who plays a mean spirited magic trick on him that will have your skin crawling out the door. This was one of Blake’s last two roles before the unfortunate incident that cut his career painfully short, but he’s perfect for Lynch’s stable and eats up the frames he inhabits, a pasty faced ghoul with beady black jewel eyes and a piercing laugh that will stain your dreams. Before he knows it, Fred wakes up and is accused for his own wife’s murder, whisked away to a dank death row cell, plummeting the film into a new segment, Lynch’s way of letting us know this isn’t going to be an easy watch.

Fred wakes up sometime later… And isn’t Fred anymore. He’s a young dude with amnesia who’s been missing for a while, played by the edgy Balthazar Getty. It’s a stark narrative left turn, a stinging reminder that from there on in, we’re in for some nasty antics with no light at the end of the tunnel. Getty is released from prison, since he’s not Pullman who they arrested to begin with. From there he gets entangled in one hot mess involving a volatile gangster porno king (Robert Loggia), his seductive wife (also Patricia Arquette) and the ever present Mystery Man who lurks over both planes of the film’s narrative like a malicious puppeteer. I’m trying to be deliberately vague about the plot (lord knows Lynch did as well), both to not spoil any surprises for you, and partly because after many viewings, I’m still not sure exactly what it means for myself. It’s a great big clusterfuck of extremely disturbing sequences, surreal passages of auditory and visual madness and a frothing undercurrent of atmosphere that constantly pulls on your sleeve to remind you that something is terribly wrong, but never gives you the solace of telling you what that something is. Traumatic viewing to say the least.

Lynch assembles an extraterrestrial supporting cast including Michael Massee, Jack Nance, Natasha Gregson Warner, Marilyn Manson, Henry Rollins, Mink Stole, Jack Kehler, Giovanni Ribisi, Richard Pryor and the one and only Gary Busey (when Gary is one of the calmest, sanest people in your film you know you’ve driven off the cliff). Some highlights for me are anything to do with Blake’s paralyzing spectre of a character who is one of the best Lynch creations ever, Loggia intimidating an obnoxious driver is priceless and the closest the film gets to comedy, and the final twenty minutes where the lines of reality, fantasy and the jagged planes of perception within the characters minds collide, providing us with a creepy non-resolution, part of what makes the entire show so memorable and affecting. A classic that begs countless revisits before it can fully cast all aspects of its spell on you, and one of Lynch’s unsung best.

-Nate Hill

The Man who would be Cage: An Interview with Marco Kyris by Kent Hill

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I feel like I’m somehow getting closer to Nicolas Cage. I’ve spoken to a man who has directed him – a man who has “Nic-polished” his scripts. So, you can image my delight when Marco Kyris, Cage’s stand-in from 1994 till 2005, agreed to not only have a chat, but also to give me a preview of his new documentary, UNCAGED : A Stand-in Story.

People ask me, “What’s with this Cage obsession?”

My answer is always…I think he’s a genuinely smart actor, with eclectic tastes and a wide repertoire which has seen him enjoy Oscar glory, big box office success and become a champion of independent film.

The son of August Coppola (nephew of Francis Ford), but with a name lifted from the pages of his comic book heroes, Cage is at once both an actor and a movie star. With a legion of devoted fans worldwide and, heck, even a festival that bears his name – celebrating the wild, the weird, and the wonderful of the cinema of Nicolas Cage. From the genius of Con Air to the brilliant subtlety of Adaptation, the exceptional character work of Army of One to the gravitas of Leaving Las Vegas – Cage is a ball of energy that needs only to be unleashed on set.

It was my sincere pleasure to talk with the man who stood in for the man when the man wasn’t on set. Marco’s tales are a fascinating glimpse – another angle if you will – in the examination of one of the movie industry’s true originals. I know you’ll find his story and his film, UNCAGED, compelling viewing  – for both those curious as to the life of a stand-in, and also those looking for a unique look at the life of a superstar.

I’ve been privileged to chat with the people who made the rough stuff look easy for Arnold Schwarzenegger and Rene Russo…

Now it’s time to uncage the legend.

(ALL IMAGES COURTESY OF MARCO’S WEBSITE: https://www.mkyris.com/)

BEFORE YOU GO, CHECK THIS OUT…

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David Lynch’s Dune

David Lynch’s Dune is a great film despite what critics, moviegoers, the general consensus and Lynch himself would have you believe. It’s obvious that heavy editing turned it into something of a pacing quagmire, scenes are truncated, oddly conceived voiceovers are added, and yadda yadda. Doesn’t matter. This is still an exquisitely crafted, beautifully atmospheric space opera that takes full advantage of production design, casting, special effects and music, I loved every damn minute of it. I’ve recently been reading Lynch’s semi autobiography and it seems clear that that money shark producer Dino De Laurentiis had final cut and just couldn’t reconcile letting the runtime go past two and a quarter hours. Shame, as there was no doubt way more that we could have seen, but what’s left is still magnificent. I haven’t read the books so I can’t speak for any lapses as far as that goes, but what we have here is a sweeping science fiction fantasy saga about warring royal families, shifting alliances and metaphysical forces all revolving around the desert planet Arrakis, where an invaluable spice is mined and fought over by all. Duke Leto Atreides (Jurgen Prochnow), his wife Lady Jessica (Francesca Annis) and their son Paul (Kyle Maclachlan) travel far across the universe from their home world of Caladan to oversee Spice harvesting and production. Buoyant, herpes afflicted fatso Baron Harkonnen (the inimitable Kenneth McMillan takes scenery chewing to a whole new level) seeks to usurp and steal the operation for his house. So begins a series of wars, betrayals and no end of staggeringly staged set pieces and baroque, abstractly conceived production design that Lynch & Co. slaved over for years to bring us. The sand worms are a visual marvel, as are the gold and silver spaceships, the interiors of which feel both lushly industrial and gleamingly regal. Maclachlan and Lynch had their first team up here, the first of many, and the young actor is a magnetic lead, handling the arc well from a naive prince to a desert outlaw who wins over the leader (Everett McGill) of the indigenous tribe of Arrakis and falls in love with their princess (Sean Young, somehow *even* sexier here than she was in Blade Runner). Lynch has amassed an unbelievable cast here, an epic laundry list of names including Patrick Stewart, Max Von Sydow, Jose Ferrer, Linda Hunt, Virginia Madsen, Alicia Witt, Dean Stockwell, Brad Dourif, Freddie Jones, Jack Nance and more, all excellent. Sting is in it too and I have to say that his is the only performance that’s campy in a bad way instead of good, you should see him leering at the camera like he’s in a second grade play. One of the film’s greatest strengths is the original score by Toto, who dial back their trademark rock vibe and produce something atmospheric and elemental in the vein of Vangelis or Tangerine Dream. Their main theme is distinct and oddly melancholic and the rest is synthesis style, beautiful work. I don’t know what to tell you about the whole editing debacle, I mean I guess if De Laurentiis hadn’t have had to swing his dick around Lynch may have had his three plus hour cut, but would that really have been better, or would there have then been a complete lack of pacing and progression ? Who knows, but the way it is now, admittedly there’s a lack of complete coherency and one can tell certain scenes are missing while others languish and take up too much running time, but the issues are nowhere close to as disastrous as the swirling reputation around this film suggest. I’m just so stoked on it now because I avoided it for years thinking it was some giant cinematic mistake a lá Battlefield Earth. Not a chance, and I think many people are just being a bit dramatic, because this is a showstopper of a fantasy epic and I loved it to bits. Just bought the Blu Ray off Amazon a minute ago, excited for many revisits.

-Nate Hill

David Lynch’s Wild At Heart

David Lynch’s Wild At Heart can be given the nutshell description of ‘Lynch does Bonnie & Clyde’, but that doesn’t even begin to scratch the surface of this twisted, surreal, beautifully scarring piece of bizarro cinema cunningly disguised as a love story. It is a love story, first and foremost, but that’s also only a blueprint onto which all sorts of other dreams, visions and nightmares are painted. It’s very, *very* loosely on a book by Barry Gifford, but what Lynch whips up makes the source material seem grey and unrecognizable in comparison. Gifford’s book is the black and white prologue to The Wizard Of Oz and Lynch’s version is the dazzling yet unnerving technicolour dream world that follows, and indeed he uses imagery and gives shout outs to that film any chance he gets here. Nicolas Cage and Laura Dern are Sailor Ripley and Lula Pace Fortune, lovers on the run from the Deep South and Lula’s tyrannical monster of a mother Marietta, played by Diane Ladd in an Oscar nominated turn that doesn’t just chew scenery but devours it with the force of an imploding neutron star that eats galaxies. Marietta is intent on keeping the two of them apart for reasons slowly and subtly unveiled, and she sends everyone and their mother after them including mopey private detective Johnnie Farragut (Harry Dean Stanton) and dangerous mobster Marcellos Santos (the late great J.E. Freeman). Sailor and Lula’s journey is a deranged yellow brick road through 50’s infused Americana, perverse apparitions abound and literally almost everyone they meet ranges from deeply disturbed to outright psychotic to marginally quirky. Santos sends a cabal of weirdo assassins headed up by ghoulish sadist Perdita Durango (Grace Zabriskie in a pants shittingly scary performance) and her cronies (David Patrick Kelly and Calvin Lockhart). In Texas they run into reptilian scumbag Bobby Peru, brought to life by Willem Dafoe in a skin crawling portrait of sexual menace and warped glee that would scare off Frank Booth. Lula tells tales of her delusional cousin Dell (Crispin Glover) putting cockroaches on his anus and of being raped at age thirteen by her father’s business friend (actually shown in a brief but upsetting cutaway). Why all this unpleasantness, you ask? Well… I don’t know, but Lynch seems to and he isn’t sharing the coordinates of his moral compass with anyone, he’s simply storytelling and holding nothing back of the weird or wild variety. Amongst all the violence and monstrosity there’s an undercurrent of tenderness and love that pulses via Sailor and Lula’s relationship, cultivated in an ebb and flow tide of simple, candid pillow talk and unbridled passionate sex that mirrors their frequent and feverish visits to sweaty dance clubs. This is their story, and every ghost, goblin and witch they meet along the way is simply a dark passenger or otherworldly day player in their tale, plus they often make for hilariously off colour vignettes, like Jack Nance’s deranged 00 Spool or Freddie Jones’s gnomish pigeon expert. My favourite sequence is a sobering, haunted diversion off the side of a freeway where they discover a distraught girl (Sherilyn ‘Audrey Horne’ Fenn) rambling through a bout of brain trauma from a car accident. Angelo Badalamenti’s score sings through this to the point of chills, as it does throughout the film. Also traversing down this dark yellow brick road are William Morgan Sheppard, Frances Bay, musician John Lurie, Nicholas Love, Pruitt Taylor Vince, Frank Collison, Ed Wright, Isabella Rossellini and Sheryl ‘Laura Palmer’ Lee herself as Glenda the Good Witch. As proclaimed by Lula at one point, “this whole world is wild at heart and weird on top..” It is indeed, and we’re lucky to have a filmmaker like Lynch to do his part in keeping it that way by making unique, bizarre films like this to remind us just what is possible in cinema with a little invention, a whole lot of colour, splashes of horror and a love of storytelling. Maybe not Lynch’s most prolific or instantly recognizable work, but a full on classic for me and high up on his filmography list.

-Nate Hill

ALL COP: A Fan’s Journey by Kent Hill

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How important are fans to the longevity of a movie? The truth is – extremely important. Fans are the reason films have survived long past their initial release life. Coming from the age of VHS, we were the generation of watchers that gave cult status to films that would have faded if not for the popularity of this new medium. Films that died even before their brief, bottled-rocket moment in theaters fell to the ground cold and lifeless under the weight of audience disinterest.

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A devoted fan is worth their weight in gold. They will stick with a film, a franchise, even through the worst of times. RoboCop is an undeniable classic. But, and it is just this man’s opinion, the continuing saga has suffered from the same strength that made the first film the glorious specimen it remains. Two wasn’t bad. Three, was stretching. I dug the animated series, even the live-action TV show. Then there was the recent reboot. I think the less said is the easiest mended and stand with many on this thinking – that the idea of remaking classic films is a colossal mistake. There was really nothing in this tepid attempt to re-invoke the wonders of past glory that are worthy of even the title.

Like Eva Rojano I saw RoboCop on video back in the day and was equally as awed by it. The fascinating thing though about Eva’s fandom is the empowering nature, the passion and exuberance she draws from the picture, and how it has helped shape her life and permeate her dreams and ambitions.

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Eva with Nancy Allen

Eva was so taken with the power of the character, and the story arc of Anne Lewis, portrayed by the wonderful Nancy Allen, that she eventually started corresponding with her idol, and finally, was able to meet her in person and further solidify the friendship.

The joyful nature of being utterly and completely taken by the subject and the morals amplified by popular and classic movies, is that it allows the fan to live vicariously through the characters they identify with and thus, giving one’s imagination fertile soil in which to plant the seeds for a harvest of success in whichever field of expertise one chooses  to explore in life.

Eva has taken the inspiration she receives from the likes of the empowered character of Anne Lewis and has turned all of her creativity and dedication to spreading and bringing together the talents and appreciation of RoboCop fandom world-wide. And, in the wake of the recent news of yet another cinematic entry into the RoboCop franchise, as well as, the fact that the talented Miss Allen has not, unlike the other member of her integral duo aka Peter Weller, been approached to be a part of this re-invigoration of such a beloved series; Eva has taken to the fandom at large and has created a petition to motivate the powers that be with the hopes of bringing back her treasured Officer Lewis.

Eva’s is a fascinating and passion-filled tale that I trust will inspire and delight. Please do, all you Robo-Fans, jump on the bandwagon and sign the petition (https://www.change.org/p/mgm-studios-inc-we-want-nancy-allen-to-play-a-role-in-robocop-returns) to get Nancy, along with Peter, back into the Robo-verse where together they belong. And also to, please follow the links below and experience the wonderful work Eva is doing – all to honor the movie she loves most dearly.

https://enhanced-reality.wixsite.com/robocoplewis

https://www.facebook.com/RoboCopLewis/

MORE ROBO-COLLABORATORS

Ed Neumeier

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Steve, The MEG & I: 20 Years in the Making (Part 2) by Kent Hill

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I am a fan of Steve Alten’s writing and of shark, or sharksploitation cinema in general – so read these words with that in mind.

I first read MEG: A Novel of Deep Terror when it arrived on the scene in the late 90’s and believed then – just as a certain movie out at the moment  has confirmed for the world – that it was/is the basis for something cinematically awesome. But that was twenty years ago, when Alten was poised to become the next Peter Benchley and have his man vs big shark, or in MEG’s case, prehistoric bad-ass shark, optioned before it hit the shelves. All of the ingredients seemed to be there. A new JAWS, it appeared, was on the cards – then, it didn’t happen.

I followed the gestation throughout the years of this mighty megalodon movie that got away. Talented filmmakers crossed its wake, and I confess, I would have liked to have seen Jan de Bont’s take on the material – this talented director of photography  that came to the director’s chair and gave us SPEED and TWISTER. I think had his next picture been MEG, we might well be talking about Jan in a different way – and it might have saved us from SPEED 2?

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But they all saw MEG a different way. They didn’t see it the right way. Thus the production floundered and the seasons came and went. The MEG, all the while, lay silent in the depths of development hell.

CUT TO:

A YEAR AGO.

I contacted Steve (https://podcastingthemsoftly.com/2017/08/02/20-years-in-the-making-an-interview-with-steve-alten-by-kent-hill/) to talk about the arduous journey his big shark book had taken to get to the screen. (A year before the worldwide press descended with the onset of the film’s success, I might add.) I was excited because, at long last, it seemed as though there was no stopping it now. A live action feature was in production and MEG, or The MEG, as it was soon to be titled, was rising and with or without the ‘The’, we who call ourselves ‘Megheads’ were about to have all we’ve ever wanted.

And it is the big shark summer blockbuster that I’ve longed for since reading that Novel of Deep Terror way back when. With an exceptional cast to lead us through a picture that is at once funny, moving and action-packed – there’s plenty for one to sink one’s teeth into. The filmmakers have given rise to the ‘Alten-verse’ which explodes spectacularly like the prehistoric leviathan that is it’s centerpiece.

Steve said we should catch up after the movie was out, so, I now present that chat and as for The MEG – I sign off by directly quoting the final line of one of the many splendid reviews for the picture previously published. In part because I share its sentiment exactly, and also because, whether by accident or design, it makes reference to that other big shark movie you may or may not be aware of…

“It will leave your inner 12 year old and your actual 12 year old, smiling like a son-of-a-bitch.”

VISIT:https://www.stevealten.com/

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