i will never be able to unsee mrs cobel from severance as an absolute baddie

saw this at the roxie

The way Lynch depicts motive in the noir/thriller/horror genre is so creative. I think the key to enjoying Lynch films is to pay close attention to every clue that’s given, but also give up understanding and just enjoy the ride. So many scary, thrilling, hilarious, and horny scenes. Even when you’re confused at what’s happening, you feel the effects of each scene. The shots here as so powerful. Every decision feels so intentional by Lynch. I still have quite a few open questions, but it doesn’t feel like a film that just left you confused by being too smart or unnecessarily confusing. I think that’s the beauty of many of Lynch’s films, they require the viewer to interpret for themselves.

also some serious vertigo influences too. was actually grateful for @kt making me watch it

i will never be able to unsee mrs cobel from severance as an absolute baddie

saw this at the roxie

The way Lynch depicts motive in the noir/thriller/horror genre is so creative. I think the key to enjoying Lynch films is to pay close attention to every clue that’s given, but also give up understanding and just enjoy the ride. So many scary, thrilling, hilarious, and horny scenes. Even when you’re confused at what’s happening, you feel the effects of each scene. The shots here as so powerful. Every decision feels so intentional by Lynch. I still have quite a few open questions, but it doesn’t feel like a film that just left you confused by being too smart or unnecessarily confusing. I think that’s the beauty of many of Lynch’s films, they require the viewer to interpret for themselves.

also some serious vertigo influences too. was actually grateful for @kt making me watch it

i love humbling and shaken displays of rarely talked about topics, in this case being toxic masculinity

i love humbling and shaken displays of rarely talked about topics, in this case being toxic masculinity

I have no clue how I feel about this film

I have no clue how I feel about this film

(*My month of catching up on David Lynch films continues.*)

So this is Lynch's Vertigo, then. And who better to try the guy-with-a-head-injury-living-two-noir-realities thing? A battle of parallel/contrasting timelines, in a film that (I'm pretty sure) makes as much sense backwards as forwards? How do you not at least try this? How does Lynch (of all people) not?

There are definitely some plot holes (inconsistencies? quibbles? eh.) that are hand-waved away with time shifts and hallucinations, but a film like this was always going to sink or swim on its style over its narrative arc, and at this point in his career, Lynch had his style down. His calling cards are everywhere: blood-red curtains, endless corridors, spotlights punctuating bottomless shadows, inspired stuntcasting (Richard Pryor! Gary Busey! Henry Rollins!), moody covers of classic songs, and more narrative misdirections than an excited 6-year-old. It's supposed to be a little bit sexy, and a little bit silly. That's part of the point. That second murder scene is frankly hilarious.

Also, well done on casting Robert Blake in what, in hindsight, turned out to be the perfect role for him (derogatory).

(*My month of catching up on David Lynch films continues.*)

So this is Lynch's Vertigo, then. And who better to try the guy-with-a-head-injury-living-two-noir-realities thing? A battle of parallel/contrasting timelines, in a film that (I'm pretty sure) makes as much sense backwards as forwards? How do you not at least try this? How does Lynch (of all people) not?

There are definitely some plot holes (inconsistencies? quibbles? eh.) that are hand-waved away with time shifts and hallucinations, but a film like this was always going to sink or swim on its style over its narrative arc, and at this point in his career, Lynch had his style down. His calling cards are everywhere: blood-red curtains, endless corridors, spotlights punctuating bottomless shadows, inspired stuntcasting (Richard Pryor! Gary Busey! Henry Rollins!), moody covers of classic songs, and more narrative misdirections than an excited 6-year-old. It's supposed to be a little bit sexy, and a little bit silly. That's part of the point. That second murder scene is frankly hilarious.

Also, well done on casting Robert Blake in what, in hindsight, turned out to be the perfect role for him (derogatory).