David Lynch: The Art Life


Smoke ’em if you got ’em.

(2016) Documentary (Janus) David Lynch. Directed by Jon Nguyen, Rick Barnes and Olivia Neergaard-Holm

 

David Lynch is one of the most celebrated, iconoclastic and cerebral directors in cinematic history. From his breakout in 1977 with Eraserhead, his filmography has an impressive list of films including Elephant Man, Dune, Mulholland Drive, Wild at Heart, Blue Velvet, The Straight Story and of course the legendary TV series Twin Peaks which he has just resumed with a sequel on Showtime. While he hasn’t made a narrative feature film since 2006 (Inland Empire), he has remained busy with a plethora of short films (most of which can be found on his website) as well as writing music and painting.

This documentary is mainly directed by longtime admirer Nguyen and the hero worship is evident. Nguyen emulates the style and the pacing of a Lynch film which I suppose is appropriate; therefore rather than getting a straight documentary film that tells Lynch’s story as a filmmaker, we get the director himself narrating the story of his childhood, adolescent and young adult years essentially leading up to Eraserhead. We see that his first love is painting (which he continues to do to this day) and that he lived a fairly normal, suburban life in the 50s and early 60s as his research scientist father moved them regularly to states in the Pacific Northwest and Big Sky country.

Lynch speaks very warmly about his mom who once she discovered his talent at drawing refused to buy him coloring books although she bought them for his siblings. This had the effect of forcing Lynch to use his imagination and coming up with his own pictures rather than filling in the blanks for someone else’s.

So where does the darkness that fills almost all of Lynch’s art, both cinematic and painting, come from? Lynch, notoriously reticent, is cagey about that. He discusses an incident in which he and his siblings were playing outside after dark when a naked woman, bleeding from the mouth, staggered onto the cul-de-sac on which he lived and sat down on the curb and wept. Lynch talks about not knowing what to do, and apparently the incident stayed with him; it sounds very much like a moment out of his own films.

Lynch had a love of painting and when he discovered that the father of one of his school chums was artist Bushnell Keeler, he knew he had a calling. Keeler encouraged him, allowed him to rent space in his workshop and when David’s father threatened to throw him out after the two argued about a curfew, Keeler came to the rescue and assured the elder Lynch that his son was working hard on a passion, something he wished his own son would do. Keeler also helped get Lynch into the Pennsylvania Academy of Fine Arts where Lynch began to thrive.

If you’re looking for a movie that is going to explain the influences on Lynch’s cinematic career, or explore his methodology and inspirations, you’ve not going to find it here. The film ends essentially with Eraserhead and none of his other cinematic works gets so much as a mention here. In true Lynch style, we get next to nothing of what we want to know and instead have to make do with what he’s willing to tell us. That may drive less enthusiastic fans bonkers but his diehard followers will nod sanguinely and enjoy the ride.

This is the rare documentary that isn’t a parade of talking heads. There’s only one here – Lynch himself – and we see him throughout, wreathed in a fog of cigarette smoke (Lynch is more or less a chain smoker and has been since youth), an everpresent glass of Coke at his side. Mostly he paints on-camera although from time to time he plays with his toddler daughter Lula (to whom the film is dedicated) or stares off contemplatively into the distance. This is a bit of a double-edged sword. The film isn’t cluttered but at the same time we get no other viewpoints. We see images of his brothers, his sister, his friends (like the inimitable Jack Fisk) but we don’t hear from them. Everything in this movie is through Lynch’s eyes, or the eyes of the filmmakers.

Consequently we’re left to gaze at Lynch painting, smoking and reminiscing. He can be a charming raconteur but there are times he starts an anecdote, pauses, then says “I can’t talk about that right now” and moves on. Like the painting he is working on, it is left intriguingly but infuriatingly unfinished for the audience. Sadly at least for my part, I found this somewhat boring after awhile. It was the cinematic equivalent of reading a Wikipedia entry and served to make one of the most interesting filmmakers extant actually boring. That’s unforgivable as far as I’m concerned.

REASONS TO GO: The filmmakers do an admirable job of making this look and pace very much like Lynch’s own work.
REASONS TO STAY: This is very much for Lynch fans. We get no other point of view other than Lynch’s own.
FAMILY VALUES: There is a little bit of profanity, some art nudity and a whole lot of smoking.
TRIVIAL PURSUIT: The film was funded through a Kickstarter campaign; those who gave money at a certain level were awarded Producer credits.
BEYOND THE THEATERS: Amazon, iTunes
CRITICAL MASS: As of 5/29/17: Rotten Tomatoes: 89% positive reviews. Metacritic: 75/100.
COMPARISON SHOPPING: Richard Linklater: Dream is Destiny
FINAL RATING:4.5/10
NEXT: Fate of the Furious

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Real Genius


Party on, nerds!

Party on, nerds!

(1985) Comedy (Tri-Star) Val Kilmer, Gabe Jarret, Michelle Meyrink, William Atherton, Jonathan Gries, Patti D’Arbanville, Stacy Peralta, Ed Lauter, Louis Giambalvo, Charles Shull, Robert Prescott, Mark Kamiyama, Tom Swerdlow, Randolph Dreyfuss, Dean Devlin, Yuji Okumoto, Deborah Foreman, Monte Landis, Paul Tulley, Joanne Baron, Charles Parks, Beau Billingslea. Directed by Martha Coolidge

I have to admit having a great deal of fondness for movies that came out in the 80s. I was in my 20s back then (ugh!) and although I was already skewing towards a demographic that movies weren’t serving quite so much, I was still close enough to it to relate.

The 80s were kind of a transitional period, moving away from the anti-heroes that were the rage in the 70s and more towards lighter, fluffier movies that started with Star Wars and continued as special effects began to become more sophisticated. It was also a great era for comedy as directors like the recently departed Harold Ramis, the late John Hughes and Ivan Reitman were all turning out classics like Ghostbusters, Sixteen Candles and Caddyshack.

One of the more underrated comedies of that era was Real Genius. Directed by Martha Coolidge who had previously helmed Valley Girl, the movie was somewhat akin to Revenge of the Nerds which had been released the previous year.

Mitch Taylor (Jarret) is a 15-year-old science prodigy who has been accepted into the physics program at Pacific Tech (a ringer for Cal Tech) headed by none other than television scientist and personality Dr. Jerry Hathaway (Atherton). Not only that, he’ll be rooming with Chris Knight (Kilmer), a legend in the honors student community who is now a senior at Pacific Tech.

However, Mitch finds that college isn’t exactly the way he thought it would be. The brilliant Knight is more interested in partying and playing elaborate practical jokes than he is in studying and preparing to become the next generation of scientists and engineers that will shape the future of our world. And, just like in high school, there are a group of bullies led by Kent (Prescott) who mercilessly badger and tease young Mitch. Kent it seems is insecure about his position with Dr. Hathaway and sees Mitch as a threat – and for good reason as it turns out as Dr. Hathaway puts Mitch in charge of finding a way to power a four megawatt laser, a project both Chris and Kent had previously been in charge of.

However, things aren’t all bad although the pressure on Mitch is spectacular. He meets Jordan (Meyrink), a hyperactive insomniac who is sweet on him – and vice versa. There is also a mysterious figure who lives in his closet, one Lazlo Hollyfeld (Gries) who was smarter than both Mitch and Chris but cracked when he found out the research that he was doing had been used for weapons.

The stress is growing to the breaking point for Mitch despite Chris’ admonition to blow off steam. The pressure is also growing on Dr. Hathaway, who had been given a grant to get results but was fobbing off the work on his students (who were working for free) and using the money to remodel his house. At last he tells Chris that the job waiting for him after he graduates will evaporate – in fact, he won’t graduate because Dr. Hathaway will fail him no matter what he does in class.

After a disastrous test melts down the laser (due to sabotage from Kent), Chris has an epiphany and gets the laser to work. However, when Lazlo wonders why they are celebrating, he asks them what the use of such a powerful laser would be and there is only one – as a weapon. Devastated, these brilliant students must find a way to make sure their research is never used – and at the same time, get even with those who betrayed them.

The humor here is more gentle and less raunchy than what we’re used to today, and there is a certain amount of sweetness, particularly in the relationship between Mitch and Jordan. Kilmer, who more often than not has been cast in dramatic roles in his career, was at that point a fine comic actor (remember Top Secret?) who had a bit of a quirky edge to him. He is really the center of the movie in many ways although the protagonist is ostensibly Mitch.

Jarret was a bit underwhelming as Mitch although I suspect that is as much by design as anything else. Mitch, as written, is a bit of a doormat so at times the character seems to be dragged about by whatever current is taking him. That makes it hard for an audience to get behind him and certainly to remember him. Easily it will be Meyrink and Kilmer who most will remember about this movie.

While the film is a bit dated in places (anything about technology will look dated 20 and 30 years on), the science is surprisingly sound (with the exception of the final prank which was recently debunked by Mythbusters). To this day, a laser as powerful as the one depicted here has yet to be invented although by the standards of the time the theory was apparently sound.

While this isn’t my favorite film or even my favorite comedy from the era, it remains one of those pleasures I’ve seen dozens of times and never get tired of. It doesn’t re-invent the wheel, Coolidge has a decent story to work with that she tells flawlessly and the performances are spot on. While some young whippersnappers have complained about the soundtrack, it is evocative of its times and any movie that spotlights Tears for Fears “Everybody Wants to Rule the World” is okay in my book.

WHY RENT THIS: Light and fun, not to mention funny. Kilmer is a fine comic actor. The science is also surprisingly sound.

WHY RENT SOMETHING ELSE: Somewhat dated in places.

FAMILY VALUES:  A few bad words, some sensuality.

TRIVIAL PURSUIT: In the scene where a procession of cars is arranged for a test firing of the laser, the cars are set up to mirror the motorcade of President Kennedy when he was assassinated.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $12.9M on an unreported production budget.

COMPARISON SHOPPING: Weird Science

FINAL RATING: 7.5/10

NEXT: The Lie