KimDealISsoHOT

space for living masterpieces, the work and the author are the same thing, that's why it's not possible to criticize sangenio, do you understand happypippo?

let's all shout together, no to happypippo, go away, GO-A-WAY, badget buozzo go-a-way

no to happypippo, yes to sangenio!

What a masterpiece of a review, oh my goodness, in my opinion this review is going to reach 500 comments.

what a great, immense, and exhaustive review.

"The only Film with a capital F, the others are just movies" but how wrong you are???

It's not just a game guessing the plot; it's about understanding that Lynch scatters significant meaning throughout every scene in his films, much like in Mulholland Drive. At the beginning of the film, in the moment when we see the girl laying her head on the pillow, it can be interpreted as the subsequent hour of the film being a dream of Watts. Everything we see until the Silencio theater (where the abrupt return to reality occurs) is Watts dreaming... come on, Lynch doesn't hit you over the head like that on first viewing.

For me, it's all too easy to shout "Lynch's least successful and most limited work" after just one viewing, sorry, by the way, but is it possible to spoil things here in the comments or not? :-)

I'm sorry, easy cure, but the plot is definitely there, and certainly two viewings of this immense film are not enough to grasp the narrative. However, I'm afraid spoilers can't be shared here, just like with Lost Highway; there's definitely depth behind it. Personally, I believe Lynch is primarily mocking those who think his films are improvised (myself included the first time I saw Lost Highway and Mulholland Drive) and not complex structures that play on the interplay of dreamlike elements steeped in psychoanalysis and structures linked to reality, scattered throughout the film like erratic shards. For instance, Lost Highway, after repeated viewings, is a film that has a crystal-clear explanation in every scene for me; the same goes for Inland Empire. Those who talk about nonsense while watching David Lynch are very much mistaken.

It is definitely one of the most representative films of the violent 70s; its peak, I wouldn't know, but Raging Bull has something extra, also thanks to a Joe Pesci in great form.