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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The Great Beauty (La grande bellezza)


Toni Servillo looks suave and debonair even when taking a break.

Toni Servillo looks suave and debonair even when taking a break.

(2013) Dramedy (Janus) Toni Servillo, Carlo Verdone, Sabrina Ferilli, Carlo Buccirosso, Iaia Forte, Pamela Villoresi, Galatea Ranzi, Franco Graziosi, Giorgio Pasotti, Massimo Popolizio, Sonia Gessner, Anna Della Rosa, Luca Marinelli, Serena Grandi, Ivan Franek, Vernon Dobtcheff, Dario Cantarelli, Luciano Virgilio, Aldo Ralli, Giusi Merli, Giovanna Vignola, Anita Kravos, Roberto Herlitzka, Isabella Ferrari. Directed by Paolo Sorrentino

There are those who remember the films of the great Italian director Federico Fellini with great fondness. Others look back at his films with annoyance. Fellini wasn’t one to inspire insipid emotions; you either loved his work or you couldn’t stand it. There was no middle ground with him. There hasn’t been a filmmaker like him since and although there have been a few films that could be classified as Fellini-esque, there were none that anyone could really say “this could have been made by Fellini” of. Until now.

Like the film considered to be Fellini’s masterpiece, La Dolce Vita, this film is set in the upper class of Roman society, the wealthy who go to parties that border on the surreal. Middle aged men dance with younger women. Older women dance with younger men. In Rome, the Eternal City, the one thing that isn’t eternal is youth. Those who are losing it hold onto it with their fingernails.

Jep Gambardella (Servillo) is celebrating his 65th birthday and has become aware that his time ahead is growing much less than his time behind. At 26, he had written a novel, The Human Apparatus that established his reputation – but hadn’t written a novel since. He contented himself by being the King of the Roman High Life – the man whose appearance at a party would instantly make it a success. He supports himself by interviewing artistic sorts for his editor, a kindly and wise little person with blue hair. Jep is beginning to suspect he’s wasted his life and determines to stop doing things he doesn’t want to do.

He gets involved in a relationship with an aging stripper named Ramona (Ferilli) that to his surprise is more friendship than sexual – he has over the years had plenty of sexual adventures, including one with the melancholy Orietta (Ferrari). Much of this self-reflection is brought on by the revelation that a former lover has passed away. She’d left him unexpectedly and without explanation some 40 years earlier and married another man. After her death, her husband had found her diary and discovered to his shock that it was Jep who was the love of her life and that she considered him, the man she spent her entire life with, a pleasant companion.

That’s really all there is to plot. In the interest of full disclosure, I have to say that I went into this movie expecting to hate it. I’d heard from friends and colleagues that the movie was at best a disappointment and at worst a pretentious mess. In fact, Da Queen did indeed wind up really loathing the movie but that wasn’t the experience that I had. Watching the movie, I was well aware of its faults – the movie is shamelessly pretentious in the sort of way that almost defiantly invites criticism. It is also way too long and the coda not worth the wait.

Still, I found the movie mesmerizing. In many ways, it’s a love letter to Rome itself – full of beauty that is unsurprising but with little hidden gems that only give access to those in the know. Sure the people depicted here are shallow with the delusion of being intellectual. Most of Jep’s circle is passing middle age into old age and they are going there kicking and screaming. They have all lived lives of hedonistic emptiness, going from party to gallery opening to art exhibition to dinner with little else in mind but to see and be seen.

The movie hits you with unexpected insights which caught me by surprise, much of which has to do with understanding how Romans view themselves and their place in the world. There is a world-weary melancholy to the movie which comes from being the heirs to an ancient empire that once stretched across the world but has changed and become secondary to superpowers like America and China. Jep’s self-awareness is critical to understanding the film; he is fully cognizant that he has lived an empty life and continues to live it. He knows that he has spent much of his time observing life rather than taking part in it. He has become insular, a man whose life revolves around the next party and whose reputation as a bon vivant is everything.

Near the end of the movie we are introduced to Santa (Merli), a 104-year-old nun who is while technically not a saint, referred to as such. She appears almost mummified, her jaw open wide in an expression you might find on the entombed but she has a gentle soul. In one of the movies best moments, a flock of migrating flamingos makes a stop on Jep’s portico following a dinner party he has thrown in her honor. Santa whispers with an expression of rapt joy that she knows the Christian names of each one of the birds. Then she blows a little puff of air and off fly the flamingos. Rome is ever a Catholic environment.

This is a movie of contradictions. Crazy pretentious but unexpectedly insightful. Beautifully photographed but with an eye to the ugliness of human nature. Artful yet crass. Serious yet with an absurd sense of humor. Spiritual but also hedonistic. Yes, I will admit that this is a movie that requires a good deal of effort to love. This isn’t a movie to be taken lightly nor is it as frivolous as it appears to be on the surface. It demands to be taken on its own terms and either you will or you won’t – that’s entirely up to you. If you do, however, you may well be rewarded with a glimpse inside the Roman soul that is rarely revealed to outsiders. In that sense, this is a masterpiece and there are those who agree plainly – it did beat out the incredible Danish movie The Hunt for the Best Foreign Film Oscar at the recent Academy Awards  Do I think it is a better movie than The Hunt? No, I can’t say that it is in all honesty but it is certainly a very, very good movie if you are willing to allow it to be.

REASONS TO GO: Moments of insight and thoughtfulness that sneak up on you. Gorgeous images and cinematography. If you love Fellini, this is for you.

REASONS TO STAY: Unabashedly pretentious. Far too long.

FAMILY VALUES:  There is graphic nudity and a good deal of sexuality and sensuality. There’s also some drug content and a smattering of foul language.

TRIVIAL PURSUIT: The performance artist in the film Talia Concept’s head-butting spectacle is a nod to real world performance artist Marina Abramovic.

CRITICAL MASS: As of 3/12/14: Rotten Tomatoes: 91% positive reviews. Metacritic: 86/100.

COMPARISON SHOPPING: La Dolce Vita

FINAL RATING: 7/10

NEXT: Our Film Library begins!