I think it's one of those things. I have to go to a late night showing of a weird black and white film, preferably produced by David Lynch.
Walking past Sagrada Família at night. Watching Sagrada Família at night.
The moon looks so small in comparison. And the pieces of church were lying about. I touched the stone. It was smooth and warm, not cold at all.
All the energy I have reserved for this review was exhausted on my way home. I was strolling the streets at 2 am, just a few darkly dressed characters out and about. We'll see if things change in June.
I was worried that I didn't get Lynch. The person who recommended Twin Peaks to me could not to this day explain it to me. Saying "watch Fire Walk With Me" doesn't count. Plus, I watched it. The more this story goes on, the more pointless it becomes. The mystery dispersed, and the room for imagination became so claustrophobic. Yes, the red curtain room is a claustrophobic concept. It makes the coming of season 3 less appealing in my eyes.
Lynch's films are not hard to understand. The plots are simple, lean and few. Where the difference in opinions arise is the interpretation of the meaning of the films. Some argue they're all deeply connected to the filmmaker, which would take away pretty much all their merit.
Here is the thing. I think filmmakers have the best tools. They command arguably the most powerful art form there is. Just think, they can go out there and capture all the sounds, they can enlist the best of any other field to work for them, they get to manipulate humans as if they were props, and there is so much magic in the editing room. Even a mediocre film should be breathtaking. And surely they should all be independent from the filmmaker's personal life.
That's why I'm constantly underwhelmed.
This film has a totally different message than Rosemary's Baby, but for similar subject matters, Rosemary's Baby has done it so much better.
Once the film ended, the words appeared in my head: this is insult. I have watched an insult.
I dislike the exact thing people like about Lynch, and that's why I'm confident I get it now. There is no confusion anymore. What they find plenty I find too little. I feel like he didn't convey much with this powerful medium and he didn't do its justice.
David Lynch isn't a good filmmaker. He is a serious filmmaker, but not good in my book. (I still don't know ANY good filmmaker.) I don't care how outlandish it is. I had doubts before watching Eraserhead, but I am certain now. I don't need to watch everything to be certain- Twin Peaks, Mulholland Drive and Eraserhead are more than enough.
For me, Lynch has showed a narrow worldview. His films are bogged down by worldly concerns and common annoyance and trite motifs. I am aware this is exactly opposite of what people celebrate him for : surrealism. It is incredibly tame and boring to me. People can heap accolades all they want, cite their own reaction and generic ambiance as sole evidence for its merit. I'm done. It's just one person done. No hype or analysis will make me change my mind because it's so painfully obvious.
I guess for the time being, I will always have trepidation putting down what is perceived as great stuff and second guess myself. But this concern never deterred me from finding out for sure. I will always be honest with you. I must. I have to.
Also, good for David Dao standing up for himself and inspiring another wrong man to come forward. The Hsieh/Xie case must be instrumental in giving United Airlines the punishment they so richly deserve.
P.S. it's still worthwhile to let Lynch educate people about common sense stuff:
This I can get behind.