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Laura Dern as a woman in deep trouble... INLAND EMPIRE David Lynch, 2006

Laura Dern as a woman in deep trouble…
INLAND EMPIRE
David Lynch, 2006

There is an early key scene in David Lynch’s Inland Empire. It is between one of several characters played by Laura Dern and another played by the great Grace Zabriskie. A neighbor has dropped in to introduce herself to her movie star neighbor. A bit uncomfortable, but friendly — Nikki invites the woman in for a cup of coffee. After the neighbor sips a bit, she begins to enquire about Nikki’s next movie role. A role that the neighbor feels Nikki has most certainly secured Though it is clear that Nikki is unaware she has been cast.

It only takes a few minutes before Ms. Zabriskie gets to the actual reason for her unannounced visit:

“Is there a murder in your film?”
“Uh, no. It’s not part of the story.”
“No, I think you are wrong about that.”
“No.”
Brutal fucking murder!
“I don’t like this kind of talk; the things you’ve been saying. I think you should go now.”
“Yes. Me, I… I can’t seem to remember if it’s today, two days from now, or yesterday. I suppose if it was 9:45, I’d think it was after midnight! For instance, if today was tomorrow, you wouldn’t even remember that you owed on an unpaid bill. Actions do have consequences. And yet, there is the magic. If it was tomorrow, you would be sitting over there.”

Her finger points across the room. Laura Dern’s Nikki’s eyes turn following the direction of her neighbor’s finger.  And with a turning pan of the cheap digital camera we and Nikki are transported to a different time. Maybe even a different side of reality. Maybe…

Grace Zabriskie points toward the unknown brutality... INLAND EMPIRE David Lynch, 2006

Grace Zabriskie points toward the unknown brutality…
INLAND EMPIRE
David Lynch, 2006

Way back in 2006 after experiencing David Lynch’s Inland Empire for the first time I wrote this:

Well, kids — I saw the new David Lynch movie today. Yes, INLAND EMPIRE is almost a full 3 hours of Lynchian assault.

Did I like it? Yes, I think I did. Actually, I may love it. I think I am still processing the experience. Trust me. This is a cinematic experience.

While I did find it a bit long, I was never bored.  My eyes, ears and mind were stuck to the screen the entire duration. There were more than a few people in the audience who had seen it twice already. I have to agree with those audience members — this is a film which seems to require multiple viewings. 

I am still trying to figure it all out in my head. What did all those symbols mean? Most importantly, what does it symbolize to have Nastassja Kinski sit on a sofa while Suicide Girl types dance and lip sync to the late/great Nina Simone? I guess she and them could symbolize a lot of things.  And, why the Beck song?

Word to the wise: if you do see it — stay thru the final credits.

I love that the cinema in which I saw the movie was playing selections from the new Tom Waits compilation CD, Orphans: Brawlers, Bawlers & Bastards. This turned out to be quite right for setting the tiny San Francisco cinema’s atmosphere.

Hypnotic, oddly gorgeous, without linear thought/plot and featuring a brilliant performance from Laura Dern — INLAND EMPIRE is horrific, beautiful, confusing, perverse, sad, funny, lost and ultimately a brilliant cinematic slight of hand.  If you like David Lynch you will not want to miss it. I plan on seeing it again with a couple of my pals.

 

"Come on, baby Jump up Jump back Well, now, I think you've got the knack Wow, wow!" Laura Dern & Friends(?) INLAND EMPIRE David Lynch, 2006

“Come on, baby
Jump up
Jump back
Well, now, I think you’ve got the knack
Wow, wow!”
Laura Dern & Friends(?)
INLAND EMPIRE
David Lynch, 2006

Three years later, I wrote this:

David Lynch at his very best. This is the first film he has made which rivals the brilliance of Blue Velvet. Tho quite long, the movie is NOT dull.

Blessed with an incredible acting turn by Laura Dern who seems to be wandering through the consciousness of an actor in way over her head and possibly sharing that space with a demented film maker, INLAND EMPIRE is almost impossible to describe.

This experimental film shows how much a filmmaker can do with equipment available to all of us. It also serves as a reminder that just because we have access to the equipment — no one without such untethered genius can use it as well.

Sound and image have seldom merged better.

INLAND EMPIRE is a puzzle of a film that will be pulling in viewers for decades to come. Without question, this is an important film.

"Ye-ye-ye-yeah Move around the floor in a Loco-motion!" INLAND EMPIRE David Lynch, 2006

“Ye-ye-ye-yeah
Move around the floor in a Loco-motion!”
INLAND EMPIRE
David Lynch, 2006

Not too long ago on Letterboxd I wrote:

One of my all-time favorite films is also one of the most experimental I’ve ever seen. This is a brilliant motion picture experience captured with cheap video cameras.

Interpretation is certainly open-ended. Even still, I’ve always viewed this as an actor who has lost her identity in a role.

But even more unsettling is the proposition that manipulation of “identity” could potential lead one into some horrific alternate realities. Are they real or are they each operating in some sort of parallel universe?

Best to just pretend you’re seated in dark cinema.

Turn out the lights. Turn up the volume. Just watch and listen.  Allow Inland Empire to wash over you. As it does, you are probably going to discover some vague connection that is as surreal as the film itself.

If you are not someone who does not appreciates David Lynch, experimental art or if you’re afraid of the dark — do not even attempt to watch it.

Laura Dern On the run and lost... INLAND EMPIRE David Lynch, 2006

Laura Dern
On the run and lost…
INLAND EMPIRE
David Lynch, 2006

 

Having recently watched Inland Empire the other night on a pristine German-imported blu-ray, the film remains fresh, disturbing and enigmatic as ever.

The film floods over me like some sort of brilliant wave of sound, paint and amplified humanity. I find it difficult to articulate what grabs me. But it grabs me every time I see it.

As someone who has dealt with panic attacks and disorientation, there is a spastic sort of resonation. However, this would be me, a member of the audience, projecting myself onto David Lynch’s carefully crafted and often grubby Epic of Surreal Cinematic Masterpiece.

Yes, that is what I wrote. I used the “masterpiece” word. For me, Inland Empire is a cinematic masterpiece.

I refuse to be swayed.

It is filled with odd sort of “clues” that seem to dangle and blow like thin strings refusing to tie together.

The logic is circular and filled with menace.

There is more symbology going on than one can ever hope to rattle even with the sturdiest of sticks.

A meta-film to beat all meta. A cinematic experiment without a clearly stated thesis beyond the posters tagline: “A Woman In Trouble.”

"What the fuck happened here?" I say: "He come to a reapin' what he had been sowin', that's what." They say: "Fucker been sowing some kind of heavy shit..." Laura Dern INLAND EMPIRE David Lynch, 2006

“What the fuck happened here?” I say: “He come to a reapin’ what he had been sowin’, that’s what.” They say: “Fucker been sowing some kind of heavy shit…”
Laura Dern
INLAND EMPIRE
David Lynch, 2006

As the woman (or women) in trouble, Laura Dern was given an amazing task as an actor. A task that she not only managed to achieve — Laura Dern rose above any sort of expectation. The lines between acting and reality are simultaneously drawn, twisted, subverted and blurred beyond recognition. Dern seems to literally become entwined with digital signals that form the movie itself. By stating this, I mean to write that this actress is not simply the focus of most of the film’s images —  Laura Dern’s performance and presence folds into digital images that David Lynch’s cameras capture.

This performance even amps itself beyond Dennis Hopper’s brilliant turn in Blue Velvet. The only reason it has never been given similar credit is because of the often exasperating “lengths” to which Inland Empire stretches, bends, loops and merges to form and invert itself.

For various reasons, I’ve found myself spending time with this particular movie.

I have to confess I was relieved when viewings were no longer required. But with the arrival of this blu-ray, I jumped back into the surreal madness of Lynchian Vision. I did so without request or hesitation.

"So, you have a new role to play, I hear?" Laura Dern INLAND EMPIRE David Lynch, 2006

“So, you have a new role to play, I hear?”
Laura Dern
INLAND EMPIRE
David Lynch, 2006

In the end, for me Inland Empire is a complex exploration of human identity. The identity of an artist who finds her non-professional actor’s life begins to morph, twitch, mingle and merge with those of her roles. So vested in her performance, the complexity of a new film’s character splinters into creation of multiple versions and films. The ultimate artistic nightmare.

Forever chasing her selves through horrific and dismal set-ups. Just as she might be about to latch on to the core of herself she is sent running after another lost figment. A rambling psychological, visceral, emotional and dangerous trap. Her identity becomes so fragmented and polarized that the audience shares in her existential conundrum.

"This is a story that happened yesterday. But I know it's tomorrow." Laura Dern INLAND EMPIRE David Lynch, 2006

“This is a story that happened yesterday. But I know it’s tomorrow.”
Laura Dern
INLAND EMPIRE
David Lynch, 2006

I could not help but feel slightly alarmed when a person on Twitter, known as The Movie Shrink,  sent me a link to a new viewpoint regarding a movie. The movie happened to be Inland Empire. @Plisskenboon’s translation of David Lynch’s strange epic is precise and self-assured.

I can’t state that I’m in full agreement, but it is an impressive deconstruction and evaluation of this Lynchian World that forever runs about within the confines of The Inland Empire. Um, yeah, it is a real place.

(You would be surprised how many people do not realize this.)

Splintered, fragmented and distorted... Laura Dern INLAND EMPIRE David Lynch, 2006

Splintered, fragmented and distorted…
Laura Dern
INLAND EMPIRE
David Lynch, 2006

Check it out. …if you dare:

http://plisskensmovies.blogspot.co.nz/2015/03/inland-empire.html

A person, a woman, an actor, her character(s) and shared identities are forever trapped... Laura Dern INLAND EMPIRE David Lynch, 2006

A person, a woman, an actor, her character(s) and shared identities are forever trapped…
Laura Dern
INLAND EMPIRE
David Lynch, 2006

This is a story that happened yesterday. But I know it’s tomorrow.”

Matty Stanfield, 11.20.15

 

 

When David Lynch and Mark Frost initially pitched the concept that would become the TV series, Twin Peaks, the idea was really about creating a satire on American small town culture. The show’s mystery of “Who Killed Laura Palmer?” was intended to take a backseat to the show’s plot once the quirky characters identities and respective double lives gained the audiences’ interest. Starting off with a two hour special pilot that truly brought a whole new level of quality and subversion to the firmly entrenched ideology of small town American life. It was during the run of Twin Peak‘s first season that the idea of “Lynchian” would truly take form. This series was less a satire of soap opera and television mysteries as it was a subversive and highly experimental experience.

"In a town like Twin Peaks, no one is innocent." Twin Peaks: Fire Walk With Me David Lynch, 1992

“In a town like Twin Peaks, no one is innocent.”
Twin Peaks: Fire Walk With Me
David Lynch, 1992

To the eyes of 21st Century eyes, this series might seem tame. But in 1990, this was shocking and pushed the boundaries of what was being shown on television. It was also far more “cinematic” than standard television. The pilot was a slam-dunk hit. The ratings took a significant drop after the two hour pilot.  The ratings for the rest of season one were not consistent, but never truly low.

This show was being, watched, discussed, analyzed and studied. Twin Peaks gained an almost instant cult following. Contrary to Lynch and Frosts’ idea, the mystery of Laura Palmer’s death never moved to the background. Despite already being dead and presented only in the now iconic photograph and limited POV screen captures, Laura Palmer was the driving force of the show. There a number of logical reasons that the idea of each character’s dual personas never became the vital interest(s) of the viewers. For those of us old enough to remember when this ground-breaking television show premiered, there was something alluring about that image of the seemingly perfect All-American Prom Queen captured in a High School year book photograph. There something intriguing about the beautiful yet somehow ethereally strange look of Sheryl Lee’s photograph as Laura Palmer. Like every other character roaming the streets and dirt roads of Twin Peaks, Laura Palmer had a double life. And both sides of Laura’s identity seemed to serve as a trigger for every other character on the show. The fact that we slowly gained information that she may not have been the sweet Girl-Next-Door or the earnest Meal-On-Wheels volunteer was far more curious than any of the living characters on the show.

The public wanted to know more about her and most of all wanted to know who killed her.

This, of course, would be the show’s undoing. Lynch and Frost had never really solved this mystery. Resolution of Laura Palmer’s killer was filmed in several different ways. It quickly became a an odd Pop-Culture Moment. A moment in which much of the audience was watching closely to see where all of the many clues being offered between, above, under and around all of the disturbing, comical, supernatural and off-kilter perspectives were pointing.

The final episode of season one had a huge rating. I can remember sitting in a room full of fellow college students to see who “iced” Laura. But Lynch and Frost did not reveal the killer. Simply more intense clues. It would not be until season two that Laura’s killer was finally revealed to be her father.  The mystery’s ultimate resolution made perfect sense for David Lynch’s continuing artistic examination beneath the tainted soil upon which Middle America stood, but was also somehow unsatisfying. It also made all the hints toward the paranormal suspect.

The Good Witch descends to offer some advice for Sailor... Sheryl Lee Wild At Heart David Lynch, 1990 Cinematography | Frederick Elmes

The Good Witch descends to offer some advice for Sailor…
Sheryl Lee
Wild At Heart
David Lynch, 1990
Cinematography | Frederick Elmes

Lynch remained involved with the TV series, but in many ways he might as well have left.

Twin Peaks was really a stunningly brilliant artistic experiment, but David Lynch’s true interest was/is grounded in cinema. While it may not be his finest hour as a filmmaker, 1990’s Wild At Heart, remains my personal favorite David Lynch film. A road movie from Hell, the adventures of Sailor & Lula almost felt like Lynch had been given free reign to create this gleefully surreal and perverse exploration. And wait. Isn’t that Laura Palmer giving Sailor advice?  Advise which led his character to deliver a perversely politically-incorrect apology to those thugs?!?!  When we saw Laura Palmer (Sheryl Lee) come down from the heaven’s to help Sailor get back on track, it seemed like possibly another clue.

As die-hard Twin Peaks fans were now sorting through Jennifer Lynch’s clever The Secret Diary of Laura Palmer to sort out the show’s red herrings from true relations, the iconic television series took a quick downward spiral.  Twin Peaks‘ first season directors were hand-picked by both Lynch and Frost. But the with the doomed second season the show’s director choices were disjointed and ill-fitting to the original concept. Everyone from Uli Edel to Diane Keaton took the director’s chair. It was canceled and ended in June of 1991. I had just graduated from University and relocated across the country as the second series started. I had no TV, but my interest in the show had faded to disappointment.

Wild At Heart was an Art House film. It was far from a box office blockbuster, but it added value to the director’s reputation. It was also the hit of that years Cannes Film Festival. And even though the industry may have viewed Twin Peaks as a sort of Cult TV Oddity that had ultimately failed, Lynch was in a fairly good position professionally.

Where would he go next?

What new strange world would he create for the cinema?

As it turns out Twin Peaks was still strong on his mind. Many of the ideas he had originally had for Twin Peaks had to be pushed aside to sort of conform to the standards and regulations of Network Television. He had the funding both from America and France to do what he wanted. And he could do it the way he wanted. David Lynch decided to return to the world of Twin Peaks, but this “re-visit” would be a prequel.

How does a cinematic genius top a TV Series that changed the face of network television? He breaks it... David Lynch as FBI Agent Gordon Cole Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

How does a cinematic genius top a TV Series that changed the face of network television? He breaks it…
David Lynch as FBI Agent Gordon Cole
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

This would be the opportunity for the show’s legion of fans to actually meet that beautiful High School Prom Queen gone wrong. It would also offer David Lynch the opportunity to actually work with the actress who had set so many hearts and minds a-flutter. Sheryl Lee was more than a simple, engagingly beautiful face — She possessed charisma and an interesting on-screen energy. She was and is an extremely talented actor. Lynch was to make a motion picture focused on the final week in the life of Twin Peak‘s most alluring citizen, Laura Palmer. To the film’s backers, this seemed the perfect idea. To the legion of Twin Peaks fans news of the film set hearts aflame.

What no one seemed to think about was that this was not going to be a normal sort of prequel. And for those of us who thought Wild At Heart presented David Lynch at his most unfiltered and unrestrained, we were about to discover we were wrong.

Twin Peaks: Fire Walk With Me was not so concerned with much from the original series and this film presented David Lynch’s cinematic vision completely unbridled.  He had no plans of returning the audience to the same beautiful but provocatively seedy small town. Without censor, without a Major Television Network breathing down his neck, Mr. Lynch took us back to the same town. But now we saw it from a completely different vantage point.

"If I had a nickel for every cigarette your mom smoked, I'd be dead." Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

“If I had a nickel for every cigarette your mom smoked, I’d be dead.”
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Now working my way up the corporate ladder in Boston, I stood in line with two new friends to catch a 1992 midnight premier screening of the film. We had all heard it had been met with jeers and booing at The Cannes Film Festival, but it just didn’t seem possible that the movie could be bad. Fire Walk With Me may not have been the movie the television show’s cult following wanted to see, but it was one hell of a cinematic ride. A sort of hot-dripping Freudian fever dream. Or perhaps more accurately, seeing this experimental film on a big screen was like being dropped into an Edvard Munch painting gone very wrong.

Twin Peaks: Fire Walk With Me didn’t just take the iconic TV Series to a new level, it jolted that quirky universe into a whole new cinematic galaxy.

The opening moments of the film feature a television screen on scramble. A vision we no longer see in the 21st Century. The opening scene of this television’s screening scrambled mess indicates that we are on a dead channel or that the National Anthem has already played and the channel has closed for the viewing day.  But then, just as Angelo Badalamenti’s potent score finally seems to reach a clear volume and credits have screened — this television is literally destroyed. A sharp and horrifying woman’s scream and the TV is obliterated.

David Lynch has just destroyed the restrictions and limitations of not only his TV series, he has broken out of the very concept of television itself.

As the film starts we realize that the murder of Teresa Banks has just taken place. Her body wrapped exactly like that of Laura Palmer floats on the water. The film’s first iconic image or scene is one that is never explained, but it carries an odd and comical impact. We first see Special Agent Chester Desmond arresting two grown women at the side of a school bus filled with screaming and crying children. The bus seems to be parked in an open field. Nothing about this scene is treated by the adult characters as odd or strange. Yet it is an unforgettable little scene that sets the film’s space.

Unexplained situation: An FBI drug bust and a school bus full of terrified children... Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Unexplained situation: An FBI drug bust and a school bus full of terrified children…
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

While nothing was as it appeared on Twin Peaks the TV show — in the movie’s Twin Peaks the same holds true with a major difference: Nothing even appears “right” or “normal.”

There is a constant auditory and visual discord at work. Surrealism and Absurdism is closely tied to whatever “reality” we may be shown. In the television series, actors played their characters with an edge of hamminess and often camp. In the Twin Peaks film, the actors are performing as if stuck in some vacuum that is constantly threatening to suck them up into oblivion. The acting here is not so much about “camp” as much as it is about keeping in step with the energy of David Lynch’s subversive, perverse and often hysterical vision.

David Lynch re-creates his own character from the TV series. The hearing-impaired Agent Gordon Cole summons Chris Isaak’s Special Agent Desmond to meet him. In typical Twin Peaks‘ logic, this meeting is simple and yet complicated.

"Her name is 'Lil'" Kimberly Ann Cole Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

“Her name is ‘Lil'”
Kimberly Ann Cole
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Gordon Cole leads Agent Desmond over to meet an odd woman who seems to be hiding inside a small airplane hanger. As she emerges, Gordon explains that this is his “mother’s sister’s girl, Lil“. Lil proceeds to make a sour face.

What’s a sour face? Well, that is a face that has a sour look on it.

Lil keeps one hand in a pocket of her ill-fitting dress. Opens and clenches her other hand into a fist and stomps in place. Later Special Agent Chester Desmond explains to the confused Forensic Pathologists what this meeting of Lil actually meant:

Sour Face = problems with local authority awaits

Both Eyes Blinking = trouble with the higher-ups

One Hand in Pocket = something is being hidden from the FBI

Fist = there is a whole lotta beligerence

Walking In Place = there’s going to be a lot of legwork

Dress Tailored To Fit = this is code for drugs

Blue Rose Pinned To Lil’s Dress = “I can’t tell you about that…Meaning that the agent is not comfortable revealing this meaning to Kiefer Sutherland’s befuddled pathologist.

"Her name is 'Lil'" Kimberly Ann Cole Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

What was missing in Agent Cole’s introduction for Lil? …No uncle is mentioned.
Kimberly Ann Cole
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Already well over ten minutes into the film and David Lynch has yet to bring us back to Twin Peaks. It is not far away, but as we watch the Special Agent and Forensic Pathologist navigate the odd waters of their location it feels more like the familiar world we knew in the television series. After a particularly grueling autopsy of Ms. Banks, the intrepid men go to a local all-night cafe. The same cafe that had employed Teresa Banks. A comical question and answer with Teresa’s former co-worker reveals that Teresa was involved in drugs.

"Who's the towhead?" Sandra Kinder as "Irene" That is her name and it is night. Don't go any further with it. There's nothing good about it." Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

“Who’s the towhead?”
Sandra Kinder as “Irene” That is her name and it is night. Don’t go any further with it. There’s nothing good about it.”
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Then we follow them to the Big Trout Trailer Park where we are led by a hilarious Harry Dean Stanton as the park’s manager to Teresa Banks’ home trailer. It is here that Surrealism and an ever-menacing level of horror creeps onto the screen.

Loose ends from the series continue to pop up. The hanging electric lines seem to emit a sort of horrific transmission or energy. This is new.

Poor Special Agent Chester Desmond vanishes into an unexplained sort of paranormal vortex.  As Kyle MacLachlan enters the film as Special Agent Dale Cooper we finally are treated to feeling like we may be back in the familiar territory.

Special Agent Chester Desmond's abandoned car. "Let's Rock" Kyle MacLachlan and Harry Dean Stanton Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Special Agent Chester Desmond’s abandoned car.
“Let’s Rock”
Kyle MacLachlan and Harry Dean Stanton
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Special Agent Dale Cooper also pays a visit to The Big Trout Trailer Park, but his reasoning doesn’t seem to match-up.

It is not too long after he and Harry Dean Stanton look at Agent Desmond’s forgotten car and study a lip-stick written message on the windshield that we will soon hear Badalamenti’s familiar theme song and see the famous opening to the TV series.

Pulses raced as the film came to this point. At long last we would finally actually meet Sheryl Lee’s Laura Palmer. Since the TV series began she had been seen only as photographs or brief glimpses. Or most annoyingly, as a doppelganger brunette cousin.

But now we will see, hear and get to know Laura Palmer.

And now, Ladies & Gentlemen, meet your all-American Prom Queen: Laura Palmer. Beautiful, dazed, confused and abused. Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

And now, Ladies & Gentlemen, meet your all-American Prom Queen: Laura Palmer. Beautiful, dazed, confused and abused.
Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

The actual return to Twin Peaks and meeting Laura Palmer was not what anyone quite expected.

Just like the high school Prom Queen photograph, that charismatic look does transform into an even stranger mix of beauty and somehow perverse energy all channeled brilliantly by Sheryl Lee.

Within what we now call Lynchian Cinema, his female actors are essential keys. Both Laura Dern and Naomi Watts are pitch-perfect actors for David Lynch. Both are deeply skilled actors, have on-screen presence / charisma and have the ability to at once convey an All-American kind of blond beauty and ambition. They also are fairly fearless performers who are unafraid to tap into the darker and obscure aspects of humanity without crossing the line into “camp.” Isabella Rossellini was also a key actor for David Lynch. She may not be the greatest in level of skill, but she carries a bizarre mix of beauty, innocence and with a strange lean toward the perverse. Rossellini fit into Lynchian Cinema with ease. Sadly, due to complication of a romantic relationship we were only able to enjoy her within this world twice.

However, Grace Zabriskie is without question the ultimate David Lynch actor. In Fire Walk With Me, we see Mrs. Palmer before one of life’s truest devastating losses has caused her to become unhinged in her despair, sorrow, guild and grief. Here Zabriskie is given a surprisingly small but difficult challenge: establishing Mrs. Palmer as a damaged person. Of course, this fine actor was more than up for the challenge.

Mom knows something is very wrong, but she is Dad's victim too. Grace Zabriskie is Mrs. Palmer Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Mom knows something is very wrong, but she is Dad’s victim too.
Grace Zabriskie is Mrs. Palmer
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Already a solidly employed and respected actress, when David Lynch first cast her, she found the perfect film artist to assist her in channeling her unforgettable energy and presence. A highly skilled actor, Zabriskie is able to easily convey human emotion realistically — but most importantly, she can access them in the most inappropriate, perverse and hysterical of ways.

She walks the tight rope with ease: Camp and B-Movie Exploitation Horror await her slip and fall, but she never loses her balance. She straddles the lines between Realism, Surrealism and Absurdism without any sputtering or error. Like the other three actors, she is beautiful. Also like the other three, her beauty is somewhat convulsive. Unafraid of aging, this actress can summon a great degree of sexual allure in the strangest and most menacing of ways. Another shared gift all four of these actresses: they are likable. It is almost impossible not to root for Ms. Zabriskie even in the darkest and evil of roles.

While those four actors have experienced amazing success working for David Lynch, the same luck did not hold true for Sheryl Lee. It is perhaps the greatest fail of Twin Peaks: Fire Walk With Me that Sheryl Lee’s career was that it almost completely de-railed it.

It is impossible to watch this film and not note the incredible Movie Star Presence she exudes. Sheryl Lee also presents a chillingly accurate performance. This is an actor with a great deal of skill. And, like Zabriskie, she is able to easily walk that line between Realism and The Surreal. Like all of the above mentioned actresses, she is very likable on screen. And, in reality, there is probably only one of the four who could rival her beauty and that would be Rossellini.

However Sheryl Lee possesses an easy access to eroticism that is not quite as easy for the other actors mentioned. Sheryl Lee was and remains a hot-looking actress. Never extreme, convulsive or too thin — her shape is always right on form with erotic ideal. And even when she flaunts it and teases, there is something fragile at play that makes the viewer want to protect her.

High school journal keeping has never been this erotic or perverse... Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

High school journal keeping has never been this erotic or perverse…
Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Another key trait for a David Lynch actress, Sheryl Lee has no fear. In Fire Walk With Me she goes for broke in some of the most uncomfortable scenes. Most if not all of her scenes in this film act almost as individual Cinematic Abstract Art Pieces. She is given some of the oddest and most difficult lines of any Lynchian character. In an early scene we see an in-between classes sexual encounter between Laura and her love-sick suitor, James. James attempts to make her understand how much he loves her and that he can protect her from anything. The lines in this scene are intentionally comical, but at the same time carry an skewed sense of tragic truth within this warped film:

Laura refuses James’ love.

I’m gone. Long gone. Like a turkey in the corn.”
You’re not a turkey. A turkey is one of the dumbest birds on earth.
Gobble-gobble. Gobble-gobble.”

Even though you will find yourself chuckling or laughing, Sheryl Lee manages to evoke a damaged sort of “gobble” that haunts.

While the actor playing James handles the scene like a bad soap opera, Lee takes the wording and invests them with meaning. Yet, she never allows her skill to get in Lynch’s way. Sheryl Lee “gets it” and she takes that understanding and runs with it throughout Lynch’s experimental exploration of human cruelty, horror and abuse via means of the human psyche.

Having just had the rare opportunity to rematch the film via a pristine and new 4K transfer that will hopefully find it’s way to US distribution. It is miles ahead of the Region-Free German Blu-Ray and certainly far better than the treatment it received by Paramount in last year’s Twin Peaks box set. Criterion, are you there?

Prom Queen, a diary, some booze, a bit of coke and a lot of eroticism. Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Prom Queen, a diary, some booze, a bit of coke and a lot of eroticism.
Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Sheryl Lee should have become a major player in the world of filmmaking. Yet the film’s failure and her achingly-inter-connected performance was misjudged. Sheryl Lee’s work in this film is an exact match to Lynchian negative energy and dire need of redemption. Like the film itself, Sheryl Lee never falters as both she and the film go exactly where David Lynch wanted it to go.

Grace Zabriskie has stated that she felt that Lee gave so much to David Lynch and the character while filming the movie that it took her several years to find her way back to herself. This might seem like an “over-the-top” statement, but when discussing the art of Method Acting and The Method Actor, it is painfully accurate. As hard as Sheryl Lee worked to give Lynch what he needed, he would push her even harder. The film obviously left the young actor exhausted, but the film’s critical and commercial failure were most likely like receiving a universal gut punch.

The Log Lady offers a bit of comfort and a warning that serves as key to the strange world in which we roam... Sheryl Lee & Catherine E. Coulson Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

The Log Lady offers a bit of comfort and a warning that serves as key to the strange world in which we roam…
Sheryl Lee & Catherine E. Coulson
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

When the midnight screening I attended in 1992 reached the closing credits, I felt as if I had been on some strange metaphysical trip of a cinematic ride. I had been entertained, horrified, engaged and left in awe. However, my two friends and what felt like the entire sold-out audience had hated it.

People in the cinema literally Boo’d at the screen. A couple of folks even threw their popcorn containers at the screen. I was confused. As I stumbled back into the reality of a hot New England evening, I was equally disoriented and excited.

The Boston bars had closed, so the three of us retreated to a now long-gone sort of coffee-house that served the homeless, the collegiate and hipsters in equal fashion. It was a favorite hang-out. We had some cookies and coffee and discussed the movie.

Is Laura Palmer living in a very bad dream? Here she walks into a room that is more than a little too familiar. Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Is Laura Palmer living in a very bad dream? Here she walks into a room that is more than a little too familiar.
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

All three of us holding degrees in English, we all shared a love for deconstructing art. Each of us had a different read on what we had seen:

One of my friend’s felt it was an “Anti-Movie” through which David Lynch was laughing and giving the finger to his audience.

My other friend felt it was a sort of cinematic mistake. She pointed out that the use of Surrealism and Absurdism was pointless if neither had meaning. Unlike my first friend, she saw some merit to the movie. But I can remember her drawing her long orange finger nail between herself and me stating that the film’s flaws out-weighed the few points Lynch had made correctly.

I disagreed with both opinion. I felt they were being too superficial and lazy.

I sipped my coffee and told them that I felt the film was a spectacular experiment in exploring the psyche of a pedophile incest rapist and most alarmingly the psyche of his victim. I explained that the entire theme of the film had been quite poetically summed up by Catherine E. Coulson’s Log Lady. This film had pulled us into a confusing vortex of insane human cruelty,  confusion caused by child abuse, the impact resulting in a family / friends all living in a faked level of love, conformity and insincere sincerity. The despair, the pain, the guilt and the sorrow of both the victim and the victimizer are identities constantly walking with a fire that threatens to consume them at any moment.

My two friends sat with this for a few minutes. One started to laugh. The other’s head seemed tilted all the way on our respective walks to Muni, dorm and home.

A dream captured in a frame... Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

A dream captured in a frame…
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

If you’re wondering why I recall so well what we discussed and how we discussed it — it is because I have been a chronicle journal keeper since I was 18. Upon arriving back to my tiny basement apartment at 4am, I opted to write the experience down instead of sleeping. As I had to be at work for 7am it seemed a more rational use of my time. It staggers my mind to think that I could function at work without any sleep. Ah, youth.

But I digress.

Many view the movie as a complicated mess of a prequel with no other aim than to inform the Twin Peaks fans of Laura Palmer’s last week of life. This seems far too simplistic. David Lynch is far too intelligent a filmmaker to have discarded almost all of the television series atmosphere and style had this been his intent. If this were all he wanted to do the film would have been shorter and no TV set would have required breaking.

Others view it as an admirable cinematic error. One can’t really argue with this view-point. This film is so untethered, it is impossible to anticipate that everyone will like or even passively accept it. But I still stand by my opinion formed in 1992.

The angels never really went away. Laura's salvation descends... Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

The angels never really went away. Laura’s salvation descends…
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Essentially this film is examining the ways in which “we” absorb the horrors of our lives into our psyches so that we can simply continue moving forward. Full acceptance of truth is far easier said than done. Anyone who has fallen victim to someone we should have been able to trust — or, more simply put, anyone who has been sexually abused by a family member or a trusted family friend will understand that “owning” the reality of pain/sorrow caused by sexual violation/abuse is actually more difficult than the violation itself. And PTSD is not just limited to survivors of war. PTSD can kick your ass. And it kicks it in really strange and often metaphorical ways that can cause a person to mask their own personal truth as well as take on the guilt that they have no business absorbing. The victim has done nothing wrong, but under the reality of life’s light — it can feel quite the opposite for the victim who survives.

Most of the time that monster in the closet or under the bed is just normal childhood fears, but other times there really has been a monster there.

When The Log Lady runs into Laura Palmer about to enter the Twin Peaks Townie Bar, she gently touches Laura’s face and offers a parable that applies to the entire film:

When this kind of fire starts, it is very hard to put out. The tender boughs of innocence burn first, and the wind rises, and then all goodness is in jeopardy.

Is "Bob" Dad's creation or one of his daughter? Worse yet, is Bob a demon? The American Family gets a horrifying surreal deconstruction. Ray Wise as Mr. Palmer Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Is “Bob” Dad’s creation or one of his daughter? Worse yet, is Bob a demon? The American Family gets a horrifying surreal deconstruction.
Ray Wise as Mr. Palmer
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

There is an-ongoing “discussion” of pain and sorrow, fire and angels throughout the film. It begins when Laura and her best friend contemplate life. Laying in the living room, Donna shares a dream-thought and then an odd question:

Do you think that if you were falling in space that you would slow down after a while, or go faster and faster?

Laura suddenly seems to be miles away from Donna as she stares off into some doomed distance, yet she has heard her friend and answers, “Faster and faster. And for a long time you wouldn’t feel anything. And then you’d burst into fire. Forever. And the angel’s wouldn’t help you. Because they’ve all gone away.

The Angel feeds and watches over the children.  Twin Peaks: Fire Walk With Me David Lynch, 1992

The Angel feeds and watches over the children.
Twin Peaks: Fire Walk With Me
David Lynch, 1992

Later, Laura will see an angel represented in a childhood framed image in her bedroom vanish before her eyes. The three children in the painting are no longer fed or protected by the watchful angel.

The Angel has gone away  Twin Peaks: Fire Walk With Me David Lynch, 1992

The Angel has gone away
Twin Peaks: Fire Walk With Me
David Lynch, 1992

And of course there is that strange room that appears in Laura’s dreams and is presented to her by an old woman in a framed photograph. And The Other Place where The Man gives information with backward masked commentary. These visions are shared. The Lynchian concept of creamed corn comes into play. Referred to as “garmonbozia.”

The meaning of this term has been much analyzed by the legions of Twin Peaks fans as well as Lynch Heads. Creamed corn is mentioned in relation to Laura’s role as Meals-On-Wheels volunteer, Mr. Palmer is accused of stealing a can of it and it appears in visions. Garmonbozia is a demented symbol of pain and sorrow. A pain and sorrow both inflicted and inflicting. The normal thought is that there are two things that all inhabitants of Twin Peaks share:

  1. A darker / hidden aspect of their individual identities
  2. They each feed and give off pain and sorrow

Fire Walk With Me consumes itself with symbology and metaphors of fire, angels, masks, identity, a seemingly extra-dimensional red-curtained room, an owl ring, a one-armed man and most importantly the character of BoB.

The danger of the owl ring may be the only way out... Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

The danger of the owl ring may be the only way out…
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Bob is Laura’s monster hiding just outside her bedroom. As she confesses to her Meals-On-Wheels home-bound client, Bob has been having her since she was twelve. As the film progresses Laura becomes aware that Bob might be “real” but he might not be who or what he appears to be. In Laura’s self-deception, Bob is tearing out pages from her diary to exert his power. He knows everything about her — Bob knows all. Most repulsive for Laura is that as afraid as she is of Bob and the rapes, she has reached a point where the attacks are expected and she now seems to be finding some sort of sadistic sexual pleasure from these unwanted attacks. In a particularly disturbing scene as Bob takes her body, she begins to reach orgasm.

She moans, “Who are you? Who are you?!?!”  Just as she slips into orgasm Bob turns into her father.

Her father’s behavior has become highly suspect for Laura and her her mother. Mr. Palmer seems to be forcing Laura into uncomfortable confrontations.

In one of the films more Extreme/Absurdist moments, Laura and her father are in his car. Suddenly the One-Armed Man is tailing them. Mr. Palmer begins to panic. The One-Armed Man is furiously attempting to communicate with Laura. Her father keeps the car racing even at a dead stop to drown out the man’s voice. A dog’s barking becomes as loud as the car, the One-Armed Man and the frenzied musical score. The impact of this scene is equally disturbing, annoying and almost funny.

During the strangely hysterical and frenzied scene, Laura thinks she smells fire.

Screaming above it all with increasing panic, “Dad! Something’s burning! Are we on fire??!?!?

In a world of horror, it is easier to face Bob than Dad. This is the All-American Girl Next Door's only way out. Bob Silva & Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

In a world of horror, it is easier to face Bob than Dad. This is the All-American Girl Next Door’s only way out.
Bob Silva & Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Just before Mr. Palmer is able to shake the One Armed Man, he is able to reach Laura’s ear with information she does not want to have:

Holding out his one arm and a finger wearing the familiar owl ring, “It’s him! It’s your father!”

When we see Mr. Palmer drug his wife in their bedroom, Laura is jumping off James’ motorcycle off to her fate deep in the woods. We have reached the final night of Laura Palmer’s life.

Beaten, tied and dragged into an empty train freight car — Laura at first thinks she is facing Bob, the man who has abused her since she was twelve. But she quickly sees through her psyche’s self-deception: This is not Bob screaming at her. This is her father.

Brutally raped and threatened, is that Angel pointing toward an owl ring? Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Brutally raped and threatened, is that Angel pointing toward an owl ring?
Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

And there lies the owl ring.

Most importantly, for the first time since the film has begun to unspool — Laura receives a sign of hope: An angel seems to be descending into the train car.

In what appears to be an act of ultimate rebellion, Laura scrambles for the owl ring. As her father pleads with her not to make him do “it,” Laura slips the ring onto her finger. It is as if this ring allows both the victim and the victimizer to gain full awareness. As the angel hoovers somewhere above them, Mr. Palmer kills his daughter.

Metaphorically, she has won. She has escaped and left him with his guilt, pain and sorrow. The creamed corn is now his and his alone. He must live with what he has done. As he wraps Laura’s body in plastic to set her into the lake, we see his face from Laura’s body’s POV and it switches back and forth between Bob and himself.

Mr. Palmer must accept what is to come. The dream or vision becomes a sort of reality as his entry to The Other Places emerges in the woods.

A pedophile, rapist and murderer: Dad prepares to have his torment, pain, sorrow and human cruelty. Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

A pedophile, rapist and murderer: Dad prepares to have his torment, pain, sorrow and human cruelty.
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

He steps through an opening in the red curtains and enters that extra-deminsional room. The Man From The Other Place and the One-Armed Man are waiting for him. Soon Bob is standing next to Mr. Plamer. As Mr. Palmer begins to levitate, Bob is instructed to take away Mr. Palmer’s Garmonbozia.

Like some internal cancer, Bob removes the blood soaked pain and sorrow from Mr. Plamer’s gut and tosses it on the floor.

Faced with The One Armed Man and The Man From Another Place, is Dad releasing his own pain and sorrow? Or is Bob about to take care of that for him? Subconscious metaphor... Frank Silva & Ray Wise Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Faced with The One Armed Man and The Man From Another Place, is Dad releasing his own pain and sorrow? Or is Bob about to take care of that for him? Subconscious metaphor…
Frank Silva & Ray Wise
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Of course the meaning of this scene has always been debated among Twin Peaks followers.

Is this an imaginary way for Mr. Palmer to once again to slip into his self-deception?

Is this a sort of heaven in which Mr. Palmer is freed of demonic power, Bob?

Or is this something loaded with a more universal way of dealing with guilt and the unforgivable?

In a strange and hyper-intensive scene early in the film we have seen David Bowie appear at Gordon’s FBI office. He is a long missing special agent and has come to give David Lynch’s Gordon a message. A series of jump cuts and audio editing led us to The Man From Another Place, the One-Armed Man, Bob and The Chalfonts. (you will need to see the film to know these two characters) — This is of particular note as it hints to where we might be going in the upcoming Showtime Twin Peaks re-boot.

Together in a dream or some alternate universe. Laura Palmer has a worrying connection to Special Agent Cooper. "I'll see you again in 25 years. Meanwhile..." Sheryl Lee & Kyle MacLachlan Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Together in a dream or some alternate universe. Laura Palmer has a worrying connection to Special Agent Cooper.
“I’ll see you again in 25 years. Meanwhile…”
Sheryl Lee & Kyle MacLachlan
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Going back to 1991’s final episode of Twin Peaks, Special Agent Cooper finds himself in the extra-deminsional red-curtained room with a lovely and calm Laura. She informs him that she will see him again in 25 years.

While David Bowie’s long-missing special agent attempts to give a message to his near-deaf boss in Fire Walk With Me — we only catch bits and pieces of what he says. But we do see him point to Special Agent Cooper and bellow to Gordon,

Who do you think this is here?!?!?

This message almost insinuates that Agent Cooper is some sort of Evil Being. Toward the end of the original series we know that Agent Cooper had begun to see Bob’s reflection when he looked into mirrors. Hmmm…

It will be more than a little interesting to see what David Lynch and Mark Frost come up with for their limited Twin Peaks run on Showtime.

Written in blood. Never before in television history has the grammar and meaning of a phrase been so analyzed and debated.  Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Written in blood. Never before in television history has the grammar and meaning of a phrase been so analyzed and debated.
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Whatever we do learn in this mini-series will have little to do with what David Lynch explored in Fire Walk With Me. This strange and much maligned Cult Film will most likely remain where it has always been. Sort of endlessly playing into subconscious in circular logic.

Take your creamed corn for what it is or what it isn’t. Fire Walk With Me is a message that lays on a mound of bloody soil. It might be confusing or even cryptic in meaning, but David Lynch wrote it in blood.

Matty Stanfield, 10.9.2015

 

 

 

 

 

On Monday, August, 31st The New York Times shocked me. It was there that I read Wes Craven’s obituary.  Another of the most culturally important American filmmakers was gone.

“Wes Craven, a master of horror cinema and a proponent of the slasher genre who was best known for creating the Nightmare on Elm Street and Scream franchises, died on Sunday at his home in Los Angeles. He was 76.”

It is always sad when someone dies. Family and friends lost someone far more significant than an iconic filmmaker. Mr. Craven was a father, husband and friend. For the rest of us who did not know him, the loss is far less, but all the same impactful sad blow.

A key member of the innovative and creative Film Masters of his generation who managed to lift their cinematic work higher than the genre or audiences anticipated. Wes Craven’s early films appeared to be in line with typical Grind House or Drive-In horror movies of the time, but they offered something far more artistic.

Robert Englund is ready for his close-up A Nightmare on Elm Street Wes Craven, 1984 Cinematography| Jacques Haitkin

Robert Englund is ready for his close-up
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

The goal was to scare us with a degree of cinematic intelligence that was unheard of for low-budget horror at that time. Brian De Palma, David Cronenberg, John Carpenter, George Romero, Argento and Tobe Hooper were also among this group. They made movies to attract this audience base, but with artistic intention that lifted them and the genre of horror to a whole new level.

After reading the shocking news in The Times, I found myself thinking of how Craven’s films had impacted my life and my psyche. And those of my childhood friends and our culture. Despite the fact that art takes up most of our spare time and conversations, all too often we forget just how much art has seeped into our beings.

Walking through a department store a Muzak version of an old pop song plays above us as we navigate toward a register. Even the poor “revisit” of a great song can momentarily transport us back in time. We scroll through movies available via VOD and spot an old film that resonates on multiple levels. These are two minor examples, but so much art is tied to our past, our experiences (individual and shared) and often serve as some cathartic or even healing emotional source. Sometimes there is light to be found in the dark.  

The first time I was aware of Wes Craven’s name was in relation to his iconic A Nightmare on Elm Street. Back in 1984 on a crisp November Friday afternoon it opened in my hometown. some friends and I decided to ditch the second half of the school day to make our way to a cinema long since gone. We were off to see a historic movie.

Can you remember when movie posters were still works of art?  A Nightmare on Elm Street Wes Craven, 1984

Can you remember when movie posters were still works of art?
A Nightmare on Elm Street
Wes Craven, 1984

This cinema was one of two that was strict on “carding” to follow the “R-rating rule” and not all of us were yet 17. We took a few hits of weed to work up our “courage” and act like we owned the bodies of 18 year olds. It worked. The lady sold each of us a ticket.

We had seen ads for A Nightmare on Elm Street on TV, but none of us really knew what to expect or what we were about to see. This is an aspect of The Film Experience that has long since faded away. It is almost impossible to attend a screening of any movie in the 21st Century without knowing every single aspect of the casting, the production, the plot and an often  anticipated idea of how the movie is “supposed” to make us feel. Even before the movie starts we are usually forced to sit through “making of” commercials for new TV shows or upcoming movies.

For those of you too young to know what it was like before social media and 24/7 marketing, going to a movie was often a serious proposition. While all of us worked part time, a $4.75 matinae was a gamble. Of course if the movie sucked, we could always spend an hour or two playing on video games in the lobby. PacMan, Space Invaders, Centipede and pinball were always a fun compensation. (you just needed to have a friend with drilled-string coin and you were golden)

As A Nightmare on Elm Street started it was clear we were in for something different.

Um, your slasher horror movie just took a very strange new turn... A Nightmare on Elm Street Wes Craven, 1984 Cinematography| Jacques Haitkin

Um, your slasher horror movie just took a very strange new turn…
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

This was a slasher movie, but it was deeply demented and Surreal in the way it pulled it’s characters to their ends or limits. It also had a very sinister subplot for the monster, Freddy Kruger. This was some sort of paranormal being who had been a serial pedophile rapist and murderer. Despite all of this, the movie was still fun. We jumped, we laughed and teased each other as we left the cinema to head to our respective jobs or homes praying that we would not be caught for skipping school. But that night I could not sleep. For whatever reason, I was haunted by the way Freddy killed “Glen.” The dude had been lying on his bed with his headphones on. I had a whole lot of trouble falling to sleep that night and for several nights to

Glen just wants to chill on his bed with some music. Freddy has other plans... Johnny Depp A Nightmare on Elm Street Wes Craven, 1984 Cinematography| Jacques Haitkin

Glen just wants to chill on his bed with some music. Freddy has other plans…
Johnny Depp
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

come.  I didn’t know “Glen” was Johnny Depp. That hadn’t clicked on my register yet. This was largely a cast of unknowns which created a somehow more shocking vibe. Back then I had a habit of lying on my bed with my clunky “Radio Shack Realistic” cushioned head phones and listening to music. This was how I feel asleep. At this time that music was usually Pink Floyd, The Who or Led Zeppelin. But all I could think of were those blade fingers grabbing me down into Hell with my blood and guts spewing out all over my room. I believe I changed to Fleetwood Mac for the next week or so. It is funny to think back to that feeling, but it was real to me. My friends had similar reactions. Two others admitted to sleeping with the lights on.

This was the interesting power of A Nightmare on Elm Street. In 1984 it was a completely new approach to horror. It was a horror that came in dreams in a very disturbing way. The cinematic trope of Surrealism was not fully formed in out minds. We were not yet sophisticated enough to notice the admittedly low-fi effects.  At that time, they seemed pretty real.  It is also important to note that we all laughed throughout the movie. It was funny. But it was also horrifying and intense.

Poor Nancy. She better wake her ass up! The experience of relaxing in the tub was about to change for a while... Heather Langenkamp A Nightmare on Elm Street Wes Craven, 1984 Cinematography| Jacques Haitkin

Poor Nancy. She better wake her ass up! The experience of relaxing in the tub was about to change for a while…
Heather Langenkamp
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

It worked its way under our collective skin. It was like riding a really dark roller coaster. It was cinematic magic.

In the coming year or so, Freddy Krueger would somehow become a rather disturbing “anti-hero” — the sequels were not of interest to me or most friends. They were more like dark comedies than horror movies. And gradually, A Nightmare on Elm Street would become a sort of twisted comedy.

Watching it now it still amuses me. But I now can see the imperfections of low-fi special effects. “Glen” is now Johnny Depp pre-stardom. Ideas of his later career cloud my ability to access the movie in the same way. The idea of Freddy Krueger has become tainted for me. Children dress up as Krueger on Halloween. This pedophile sadist character has become a sort of family-friendly cartoon that I find more than a little worrying.

But long after the blu-ray has been ejected, replaced in it’s blue jewel box and I’m drifting off to sleep, a creepy thought crosses my mind: “Oh, fuck. I hope I don’t dream of blade fingers pulling me into my mattress!

Painting the bedroom "Glen" A Nightmare on Elm Street Wes Craven, 1984 Cinematography| Jacques Haitkin

Painting the bedroom “Glen”
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

That teenage thought still comes up.

Mostly, however, the movie brings me back to a time long gone. This odd, gritty and iconic movie is forever seared into my brain. Like a great rock song, it brings me back to a time in my life when drugs were not a problem, sex was still an idea, all my friends were still alive, my heart had not yet been broken, divorce had not altered my views on life and one could see a movie at the cinema for under $5.

There were of course a great many other horror movies we saw and enjoyed. But Children of the Corn, Splatter University, Fright Night, Pieces, Christine and Sleepaway Camp were all easily forgotten. Nancy her creepy mom (Ronnie Blakley of Nashville fame) and their tormentor has never left my mind. As Freddy snatches up Nancy‘s mom it is both comical and oddly disturbing. Craven was smart enough to tie it into dream logic.

Robert Englund teases before he strikes... A Nightmare on Elm Street Wes Craven, 1984 Cinematography| Jacques Haitkin

Robert Englund teases before he strikes…
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

Craven, De Palma, Carpenter, Romero, Hooper, Argento and Cronenberg created films that will forever hold a place in our collective psyche and memory. Wes Craven was particularly solid with casting and creating situations that tied into the culture of the day. This is not to say that the others didn’t. All of these filmmakers created and create work impossible to forget. But Wes Craven had a unique ability to approach horror with a skewed sense of humor without sacrificing the scare element.

It would be not too long after A Nightmare on Elm Street that I would see Craven’s directorial debut, The Last House on the Left via VHS. The slightly out-of-focus and cropped VHS appearance added a strange sort of disturbing element. Another thing of the past. Though, to be honest, it is nice to not wonder what was lost in those non-anamorphic versions.

"To avoid fainting..." The Last House on the Left Wes Craven, 1972 Cinematography | Victor Hurwitz

“To avoid fainting…”
The Last House on the Left
Wes Craven, 1972
Cinematography | Victor Hurwitz

I first saw it at a friend’s house while his parents were out of town. There were about five of us. Once again, we really didn’t know what to expect other than this film was from the same director as A Nightmare on Elm Street.

We had no idea how dark and grim this mean little movie would be, but we soon found out.

Set 1972 upstate New York, this movie presents two pretty high school girls off to the city to see a rock concert. Their paths cross with four sociopaths who lure, brutally rape, torture and kill both. The special effects are low-fi, but this film was truly shocking to our eyes at the time. We were all kind of stunned at what we were seeing. None of us said anything. We simply watched in silence as the brutality took place. When the film’s main protagonist manages to say a prayer and slip into a lake, the leader of this gang shoots her dead.

It is not “scary.” It is horrible.

This is not a horror film, this is a film about horror... The Last House on the Left Wes Craven, 1972 Cinematography | Victor Hurwitz

This is not a horror film, this is a film about horror…
The Last House on the Left
Wes Craven, 1972
Cinematography | Victor Hurwitz

Craven didn’t stop there. The atrocities committed by these vile people are about to be met with an untethered parental vengeance that knows no bounds. Their vengeance is not cathartic. It is actually as bleak as what has been done to their daughter and her friend.

The film ended. The FBI warning on the VHS tape came up.

I’m not sure any of us actually discussed the film beyond the basic “Holy shit!” “What the fuck?” kind of reactions we would normally shared.

The truth is we were not scared, we were horrified. None of us knew how to even articulate what we had just seen. One friend commented, “Man. That was some hardcore shit.

This must have been in 1985. I had not yet become the full-throttle film snob I am today. But I knew a good deal about movies even then. It was clear to me that this low-budget Grind House movie was a very warped retread of Ingmar Bergman’s tragically beautiful, The Virgin Spring. And it was also clear to me that this film had an agenda.

The Last House on the Left Wes Craven, 1972 Cinematography | Victor Hurwitz

The Last House on the Left
Wes Craven, 1972
Cinematography | Victor Hurwitz

Comparing Craven’s film to The Virgin Spring is a futile effort. There was nothing “beautiful” about The Last House on the Left. Most importantly, there was no hope. I can remember wanting to point this out, but opting not to do so. This was Beaumont, Texas. Having knowledge of foreign film was not exactly cool in this circle of stoners.

Not too long ago I saw Craven’s The Last House on the Left again. This must have been shortly before the lame “remake” was released. Unlike A Nightmare on Elm Street, The Last House on the Left still carries the same gut-punch as it did when I saw it in 1985. It is a bleak and disturbing vision. Wes Craven pushes the envelope just far enough without the film turning into a perverse celebration of human cruelty. It remains a brutal depiction of just how horrible human nature can be.

This angry little movie is neither cautionary or drenched in cultural commentary. It is what it is: a study in human cruelty.

As in life, this film presents a story in which the human capacity for inhumanity knows no bounds. It may not be a fun viewing, but it is a very powerful one. The Last House on the Left is a deeply disturbing and important film of note.

Craven never stopped making great movies. 1988’s The Serpent and the Rainbow still stands it’s surreal and creepy ground.

"There is no escape from the grave." The Serpent and the Rainbow Wes Craven, 1988 Cinematography | John Lindley

“There is no escape from the grave.”
The Serpent and the Rainbow
Wes Craven, 1988
Cinematography | John Lindley

Around the time of David Lynch’s iconic TV series, Twin Peaks, Craven would make borrow two of Lynch’s more memorable supporting cast members for The People Under the Stairs. A darkly funny horror film which is really a comment on racism.

His Scream franchise would reach a whole new generation of viewers.

Drew Barrymore is given yet another iconic screen moment... Scream Wes Craven, 1996 Cinematography | Mark Irwin

Drew Barrymore is given yet another iconic screen moment…
Scream
Wes Craven, 1996
Cinematography | Mark Irwin

Mixing comedy with horror like only he could. Drew Barrymore’s small role is every bit as unsettling now as it was then. I think it is worth mentioning that Craven even ventured into the more “respectable” when he directed the successful Music of the Heart staring Meryl Streep for which she and the film’s music received Academy Award nominations. I didn’t care for this film, but it speaks a great deal to Craven’s skills that he could so seamlessly move into an entirely different genre with such success.

Wes Craven is gone, but his work will continue to live, inspire, be copied, remade and scare the hell out of someone at any given time.

Freddy snatches up Nancy's Mom.  Ronee Blakley A Nightmare on Elm Street Wes Craven, 1984 Cinematography| Jacques Haitkin

Freddy snatches up Nancy’s Mom.
Ronee Blakley
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

 Wes Crave

1939 – 2015, RIP

matty stanfield, 9.4.2015

"This is a story that happened yesterday. But I know it's tomorrow." INLAND EMPIRE David Lynch, 2006

“This is a story that happened yesterday. But I know it’s tomorrow.”
INLAND EMPIRE
David Lynch, 2006

Wild At Heart Diane Ladd David Lynch, 1990 Cinematography | Frederick Elmes

Wild At Heart
Diane Ladd
David Lynch, 1990
Cinematography | Frederick Elmes

Wild At Heart Nicolas Cage David Lynch, 1990 Cinematography | Frederick Elmes

Wild At Heart
Nicolas Cage
David Lynch, 1990
Cinematography | Frederick Elmes

"This whole world's wild at heart and weird on top." Wild At Heart David Lynch, 1990 Cinematography | Frederick Elmes

“This whole world’s wild at heart and weird on top.”
Wild At Heart
David Lynch, 1990
Cinematography | Frederick Elmes

Recently I saw Belinda Sallin’s documentary, Dark Star: H.R. Giger’s World. An art gallery curator spoke regarding the therapeutic healing aspects of Giger’s work.  He commented that many artists deal with the darker aspects of human experience and survival by diving deep into the damage of human suffering to find the “voice” and “inspiration” for art but then re-emerge to take a break from all of the darkness. The curator then stated a fundamental in understanding the late H.R. Giger, H.R. Giger dove down deep and stayed there. Whatever childhood or personal traumas this man endured — he opted to find a way to be comfortable in the darkness and pain. This is one of the reasons his art speaks to so many people on such a profound level.

Art Therapy Dark Star: H.R. Giger's World Belinda Sallin | 2014 Eric Stitzel | Cinematography

Art Therapy
Dark Star: H.R. Giger’s World
Belinda Sallin | 2014
Eric Stitzel | Cinematography

I saw this film out of curiosity of the way Sallin and her Cinematographer, Eric Stitzel, had reportedly approached the artist and his home. It was a rewarding cinematic experience. It also gave me pause to look at the often disturbing sexualized themes of Giger’s art.

Debbie Harry KooKoo, 1981 Photograph | Brian Aris Art/Design | H.R. Giger

Debbie Harry
KooKoo, 1981
Photograph | Brian Aris
Art/Design | H.R. Giger

What had often struck me as phantasmagorical exploration into BDSM / KINK erotica, was actually offering a great deal more to his ardent followers. H.R. Giger’s dark work served not only as his personal art therapy, but offered the same release to viewers. So much so that an entire subculture of artistic and marginalized people have taken these works to form detailed maps tattooed all over their bodies.

Art speaks to us. Sometimes it is there to only allow an escape. Other times it is a form of magical pleasure. This is especially true of Film Art and Music. The Sound of Music has held generations of people within its sway. The same is certainly even more true of Star Wars or the television series, Star Trek.

Just the sight of the iconic graphic logo sets millions of hearts and brains' a-flutter.

Just the sight of the iconic graphic logo sets millions of hearts and brains’ a-flutter.

As for music, a song can bring us back to the happiest moments of our lives and the saddest. There are more than a few generations of people who think of songs as Anthems. A sort of collective “call to arms” on the fields of sport or in pursuit of summer fun. This of course is the power of art. No matter how “lofty” or “petty” the concerns of the artists, the work that results impacts in various and powerful ways.

In 2009, I was diagnosed with D.I.D. (Dissociative Identity Disorder). The diagnosis was horrifying to me. It would take me about two and a half years before I could fully “own” this disorder.

"Scary monsters, super creeps. Keep me running, running scared..." David Bowie Scary Monsters and Super Creeps | 1980 Photography | Brian Duffy Painting /Art Direction | Edward Bell

“Scary monsters, super creeps. Keep me running, running scared…”
David Bowie
Scary Monsters and Super Creeps | 1980
Photography | Brian Duffy
Painting /Art Direction | Edward Bell

However, as shocking as this diagnosis was, it did make sense. I had been “losing time” for almost a year. I would be sitting some place and then find myself in another with no clue as to how or why.

Most scary was finding myself in places that I did not know. I did not yet have a smart phone to help me determine where I was. I was convinced I had a brain tumor.

After visits to numerous specialists to clear me of any physiological issues, it came down to psychologists and psychiatrists.

After 18 months and four psychiatric professionals who consulted with each other, it was determined that I was “lucky.” After several years of repeated and nightmarish childhood sexual assault, my mind had developed a way of surviving it.

Roger Daltrey is "blind, deaf and dumb"  Tommy Ken Russell | 1975 Cinematography | Dick Bush

Roger Daltrey
is “blind, deaf and dumb”
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

The subconscious took over and created tiny spaces in which to place the seeming “unsurvivable” emotions and pain. As I entered adulthood these fragments within my brain remained somehow active.

What were once my mind’s coping strategies morphed into oddly functional capacities. One of the reasons I had so much trouble in accepting the diagnosis of D.I.D. was that I had no problem remembering what had happened to me. In fact, I remembered everything with almost detailed precision.

"Ain't got no distractions Can't hear no buzzers and bells. Don't see no lights a-flashin' Plays by sense of smell. Always gets a replay, Never seen him fall.." The Who and Elton John Tommy Ken Russell | 1975 Cinematography | Dick Bush

“Ain’t got no distractions
Can’t hear no buzzers and bells. Don’t see no lights a-flashin’ Plays by sense of smell. Always gets a replay, Never seen him fall..”
The Who and Elton John
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

After intense therapy I began to realize that there were entire blocks of time over the course of my life from the age of 9 to 38 of which I had no memory.

Having been an exhaustive journaler from way back, I spent a couple of months sorting through them.

Pages had been ripped out or “detracted” by self-imposed scribbles to prevent me from reading what I had been up to.

Suddenly it all begin to make sense.

The Who Tommy | 1969 Full Gate Sleeve Art | Michael McInnerney

The Who
Tommy | 1969
Full Gate Sleeve
Art | Michael McInnerney

Aside from the fact that I had to quit and walk away from a highly successful professional life and face life in the “fun world of Disability” I had to come to understand the odd way in which my mind helped me to succeed where many would have failed.

The sad fact of D.I.D. is that sooner or later the coping strategies backfire. Instead of assisting the individual, they start to turn against the goals of the owner.

"Gather your wits and hold on fast, Your mind must learn to roam. Just as the Gypsy Queen must do You're gonna hit the road..." Tina Turner as The Acid Queen Tommy Ken Russell | 1975 Cinematography | Dick Bush

“Gather your wits and hold on fast, Your mind must learn to roam.
Just as the Gypsy Queen must do You’re gonna hit the road…”
Tina Turner as The Acid Queen
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

For women this tends to happen sooner in life. For men, it appears the strange functioning powers hold off giving-out later in life. So it was as I entered my 40’s that I could no longer succeed in the line of work or any level of employment that required active thought and responsibility. This may change in the future, but for now I am told that I need to “re-adjust” my life goals. For now, I need to think about a life without a traditional career.

I could go on and on — and, in fact, I have written a great deal about this struggle. The point of this blog entry is to discuss how Film and Music Art have helped me all of my life.

Lost within his mind... The Who  Tommy | 1969 Photography | Barrie Meller

Lost within his mind…
The Who
Tommy | 1969
Photography | Barrie Meller

Much like H.R. Giger and has fans, darkness in art is often a forgiving and cathartic place for me to seek refuge. Unlike Giger and many of his fans, it is not a place in which I can stay for too long. I have to “escape” all of it. But I cannot stay away for too long. There is a healing to be found in both the world of darker art and certain levels of escape art.

Pink Floyd  The Wall | 1979 Inside Full Gate Fold Art Direction | Roger Waters Art | Gerald Scarfe

Pink Floyd
The Wall | 1979
Inside Full Gate Fold
Art Direction | Roger Waters
Art | Gerald Scarfe

As a child I was utterly consumed with fascination regarding the music and film world. Rather than attempt to “restate” myself regarding these Artists and their work I will simply mention them and include some images. You can draw your own conclusions. Maybe a few of you will even relate or connect to a different (I hope!) but similar way.

What's Up Doc? Barbra Streisand / Ryan O'Neal Peter Bogdanovich | 1972

What’s Up Doc?
Barbra Streisand / Ryan O’Neal
Peter Bogdanovich | 1972

I was four years old when my parents decided to take me to see a “re-issue” of Bambi. The cinema was sold out. So they opted for us to see What’s Up Doc?

I was too young to find the movie funny or interesting. However, I recall something very vivid about the experience of seeing Peter Bogdanovich’s classic film: This different looking lady was laying on top of a grand piano. She started to sing, “You must remember this…

Barbra Streisand What's Up Doc? Photograph | Steve Schapiro, 1971

Barbra Streisand
What’s Up Doc?
Photograph | Steve Schapiro, 1971

and my four year old ears and eyes were forever changed. Something in this lady’s voice grabbed hold of me and never let go.

After the movie I demanded to know who this lady was.

I believe it was my father who told me she was a singer.

I demanded that we cross the busy street to K-Mart so I could get the What’s Up Doc? record. There was no such thing. But I think my demand was puzzling enough for my parents to follow it. I selected my first record album based on the fact that the cover was of a child who seemed close to my own age.

Barbra Streisand My Name Is Barbra | 1965

Barbra Streisand
My Name Is Barbra | 1965

I would go on to play this album so much that I swear you could hold it up and see through the vinyl. I listened to Barbra Streisand constantly. Over the years her voice became my equal to chicken soup.

I was 8 when I discovered The Who and Ken Russell’s Tommy. Both the 1969 album and the 1975 movie.

Your senses will never be the same... Tommy Ken Russell | 1975 Cinematography | Dick Bush

Your senses will never be the same…
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

The connection to this film and The Who album seem almost painfully obvious with hindsight. 

"You didn't hear it. You didn't see it. You won't say nothing to no one. Never in your life. You never heard it, Oh, how absurd it all seems without any proof." Ann-Margret, Oliver Reed, Jack Nicholson Tommy Ken Russell | 1975 Cinematography | Dick Bush

“You didn’t hear it. You didn’t see it. You won’t say nothing to no one. Never in your life. You never heard it, Oh, how absurd it all seems without any proof.”
Ann-Margret, Oliver Reed, Jack Nicholson
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

It would not be long before I found a powerful level of escape from weed and downers. (Valium was my particular favorite) But music and most especially Film Art formed into a core of my being. While most of my friends were obsessed with Welcome Back Kotter and Happy Days, I was consumed with Ken Russell’s rock opera film and Streisand’s rock-pop remake.

A Star Is Born Barbra Streisand / Kris Kristofferson  1976

A Star Is Born
Barbra Streisand / Kris Kristofferson
1976

As I am unable to legally work, I have found creative entry ways into helping re-discover work and artists that matter to me. Aside from filing my time, it has led to some unexpected connections and a sometimes exciting background “roles” in helping to get films restored and re-issued.

Sometimes my assistance leads to nowhere. Other times it helps.

I’m not an artist.

I’m not paid.

But my voice is now heard in surprising new ways.

Lisztomania Ken Russell | 1975

Lisztomania
Ken Russell | 1975

D.I.D does not get in my way the way it used to. Right now the main challenges are defeating phobias and odd thought processing. 

And, no. My life is nothing near nor has it ever been remotely like the depictions of the disorder seen on television or movies. I don’t change clothes and personas.

Actually, it is so nuanced that few ever noticed.

"Let me take you to the movies..." Led Zeppelin  Physical Graffiti | 1975 Art Direction / Design: Peter Corriston, Mike Doud & Elliot Erwitt

“Let me take you to the movies…”
Led Zeppelin
Physical Graffiti | 1975
Art Direction / Design:
Peter Corriston, Mike Doud & Elliot Erwitt

There was a period of about 4 years where it would sometimes be clear to others that something wasn’t quite “right” but for the most part it has never been easily spotted.

And I’m very relieved to say that I have not “lost time” in over 3 years now.

The challenges now seem to creep up in phobias, self-doubt and often inabilities related to concentration. Sometimes letters re-arrange as I write or read.

That is when it is time to stop and just lose myself — in Art.

Shades of and introduction to Arthur Rimbaud & Rebellion Patti Smith Horses | 1975 Photograph | Robert Mapplethorpe

Shades of and introduction to Arthur Rimbaud & Rebellion
Patti Smith
Horses | 1975
Photograph | Robert Mapplethorpe

Art that seems to speak to struggles, fears, reality, surrealism and ideas 

"Well, it sure don't look like Texas." 3 Women Robert Altman | 1977 Cinematography | Charles Rosher Jr.

“Well, it sure don’t look like Texas.”
3 Women
Robert Altman | 1977
Cinematography | Charles Rosher Jr.

that seem to have the ability into which I can escape. 

"Oh, you are sick!" Eraserhead David Lynch | 1977

“Oh, you are sick!”
Eraserhead
David Lynch | 1977

…And, to heal the broken.

Matty Stanfield, 8.25.2015

break the idol... Tommy  Ken Russell | 1975 Cinematography | Dick Bush

break the idol…
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

Tastes being subjective, Film Theorist and Film Preservationists are and will always need to continually “re-assesing” the value and merit of the art form.

A good football coach can get away with murder. ...And, if the coach is a closeted movie star he can get away with even more!  Pretty Maids All in a Row Roger Vadim, 1971

A good football coach can get away with murder. …And, if the coach is a closeted movie star he can get away with even more!
Pretty Maids All in a Row
Roger Vadim, 1971

Perhaps the most challenging sort of movie to asses are those cinematic oddities that simply refuse to go away. Cult Films are an essential part of the cultures that produced them. Some are worthy of their “cult” status and others require massive abuse of drugs to share in the “joy.”

However, just because something is “exploitive” or “tacky” does not immediately excuse if from being re-visted, restored and re-distributed. Very often it boils down to the fact that a movie is “exploitive” and “tacky” that ends up making it relevant. A movie might create a permanent stain on our cultural fabric. Sometimes it is better to cover the stain with a Ron Howard movie and hope no one ever notices it again. Other times we need to frame that “stain” and celebrate it.

I love all kinds of film. But I have a soft spot for misfits and movies so painfully “bad” they work themselves around to being “exceptionally fun” — such is the case of Berry Gordy’s horrifyingly funny 1975 cinematic error, Mahogany, in which poor Ms. Diana Ross must climb the depraved ladder of fashion to achieve superstar success.

Um, do you know where you're going to?  Miss. Ross is  Mahogany Berry Gordy, 1975

Um, do you know where you’re going to?
Miss. Ross is
Mahogany
Berry Gordy, 1975

We cringe as she is forced into awkward situations with Anthony Hopkins. Playing a celebrated fashion photographer, Hopkins is once again cast as a psycho in  jeans so tight they actually might have been sewn onto him. Equally uncomfortable is the fact that Diana Ross saw this movie as chance to show off her personal “fashion design” brilliance.

"Give it to me, baby!" Anthony Perkins / Diana Ross Mahogany  Berry Gordy, 1975 Cinematography | David Watkin

“Give it to me, baby!”
Anthony Perkins / Diana Ross
Mahogany
Berry Gordy, 1975
Cinematography | David Watkin

Yes, she designs her own clothing. And it hurts. But Mahogany goes about everything just a bit too hard and too much to make it worthy of trying to save. It will always offer fun to some, but not enough to warrant a restoration. Don’t flame me if you disagree. I’m just stating an opinion.

Richard Elfman’s one directorial effort is insane, offensive, profane and an incredibly bad movie. Yet, The Forbidden Zone, is so strange and brimming over the top with creativity, ideas, talent and sheer force of will — It will never go away!

"Why does it feel so good to be sooooo bad?" Susan Tyrrell & Hervé Villechaize The Forbidden Zone Richard Elfman, 1980 Cinematography | Gregory Sandor

“Why does it feel so good to be sooooo bad?”
Susan Tyrrell & Hervé Villechaize
The Forbidden Zone
Richard Elfman, 1980
Cinematography | Gregory Sandor

And it shouldn’t. In addition, TFZ is a musical staring Hervé Villechaize, Susan Tyrrell and Danny Elfman! Danny is Richard’s little brother. The Forbidden Zone demanded a revisit! It was restored and re-distributed. It is just as bad as Mahogany, but what it offers is so unique, entertaining and odd that it’s horrible glory can’t be ignored or forgotten. In it’s own way, The Forbidden Zone is a brilliant off-kilter work of art.

I thought I’d briefly mention some movies that have recently been revisited/restored and a couple that I feel deserve to have a re-visit or reconsideration.

Warner Brothers often makes odd choices regarding what films within their massive achieve are deemed to be of value for restoration and redistribution. They continue to release Ken Russell’s controversial The Devils. They also refuse to allow Irvin Kershner’s Up The Sandbox to be properly re-stored and issued to HD/Blu-ray quality and format. Yet, they are more than eager to restore the Bette Davis & Robert Montgomery contractual obligation of 1948, June Bride. They have also allowed the forgettable Herbert Ross George Burns and Walter Matthau vehicle, The Sunshine Boys, to be restored.

Angie Dickinson as Miss Betty Smith, well versed in grammar, murder and free sexual guidance to her more advanced students.  Pretty Maids All in a Row Roger Vadim, 1971 Cinematography | Charles Rosher Jr.

Angie Dickinson as Miss Betty Smith, well versed in grammar, murder and free sexual guidance to her more advanced students.
Pretty Maids All in a Row
Roger Vadim, 1971
Cinematography | Charles Rosher Jr.

It took Warner Brothers decades to decide to offer a “clean-up” but not fully restored DVD/VOD of Roger Vadim’s infamous exploration film, Pretty Maids all in a Row. This nasty little 1971 movie features an unforgettable cast of actors — almost all of whom appear to be a little uncomfortable for the duration of the movie. The idea in 1970 was to allow Roger Vadim free-reign to create a satirical and perverse sex comedy to bring in the big bucks and to revitalize Rock Hudson and Angie Dickinsons’ respective careers.

Interestingly, it would go on to inspire a major network to create a classic iconic TV series for Telly Savalas called Kojack. Yes, kids. We have this amazingly twisted and so-bad-it’s-good Cult Film to blame (or thank) for the 1970’s Kojack. The film didn’t do much for anyone else. If anything it killed a few potential careers as casually as it kills cheerleaders. Joy Bangs, anyone? With a name and body like that she was expected to go far, but this would be one of her last bids of fame.

But rest easy, plans are lurking to fully restore and redistribute this cinematic oddity to HD/Blu-ray. But keep your fingers crossed just to be safe. But within the next 6 to 8 months!

Check out Todd Gaines review of this film on LetterBoxd. He sums this film up better than I ever could:

http://letterboxd.com/todd_gaines/film/pretty-maids-all-in-a-row/

Warner Brothers has also finally surrendered and agreed to “restore” Tony Scott’s infamous, iconic, controversial and much admired cult classic of Vampiric-Cool, The Hunger. Sadly, WB has taken it upon themselves to do this. The Blu-Ray will be released next Tuesday, 8.18.15! The transfer looks good and the sound is improved from the DVD release. It could have been better, but it is still worthy improvement.

Nothing loves forever. Especially Catherine Deneuve.  The Hunger Tony Scott, 1983

Nothing loves forever. Especially Catherine Deneuve.
The Hunger
Tony Scott, 1983

Very loosely based on Whitley Strieber’s novel, Tony Scott was far more interested in style and the hopelessly cool cast he managed to assemble in this very entertaining Art-Horror Film. It often seems like we are seeing only the coolest of the early 1980’s NYC Art Scene hiding around the corners as Catherine Deneuve and David Bowie pursue their blood-lust. One of their first victims is Eternal Hipster, Ann Magnuson. Not to mention the fact that movie opens with Peter Murphy and the legendary British Goth Rock band, Bauhaus – crooning their seminal hit, “Bela Lugosi’s Dead.”

"undead. undead. undead" Peter Murphy / Bauhaus The Hunger Tony Scott, 1983 Cinematography | Stephen Goldblatt

“undead. undead. undead”
Peter Murphy / Bauhaus
The Hunger
Tony Scott, 1983
Cinematography | Stephen Goldblatt

It is an artfully and darkly shot bit of early 1980’s stylistic chic. It is also one of the most erotic vampire films you will ever see. Man, woman, gay, straight, trans or any existence between — you’re bound to find Catherine Deneuve’s seduction and love-making to Susan Sarandon hot. …hot as well as kind of funny and still a bit surprising.

Lesbian Vampire Sex was never meant to be this hot!  Sarandon / Deneuve  The Hunger Tony Scott, 1983 Cinematography | Stephen Goldblatt

Lesbian Vampire Sex was never meant to be this hot!
Sarandon / Deneuve
The Hunger
Tony Scott, 1983
Cinematography | Stephen Goldblatt

Tony Scott loses his way with the story. As the film sleeks casually and oh-so-cool toward it’s end, you realize that it may not make any logical sense whereas in the novel the ending was truly disturbing and unforgettable. With this awesome movie, the ending is not so important as how neat it all looks! Seriously. This graphic film of obsession, lust, fear of aging and AIDS metaphor is amazing.

Uber-Cool Ann Magnuson is about to get more from David Bowie than she probably anticipated.  The Hunger Tony Scott, 1983 Cinematography | Stephen Goldblatt

Uber-Cool Ann Magnuson is about to get more from David Bowie than she probably anticipated.
The Hunger
Tony Scott, 1983
Cinematography | Stephen Goldblatt

The Hunger even manages to be creepy. Oh, and be sure to play this film really loud. Crank that sound up! 

Sandy Dennis does her unique Sandy Denis-thing as Miss. Frances Austen in That Cold Day in the Park Robert Altman, 1969

Sandy Dennis does her unique Sandy Denis-thing as Miss. Frances Austen in
That Cold Day in the Park
Robert Altman, 1969

We have Olive Films to thank for rescuing Robert Altman’s deeply odd / disturbing 1969 psycho-sexual thriller, That Cold Day in the Park, back from the land of the forgotten. While Olive Films restoration abilities are severely limited, they do a decent job. It is a far cry better than allowing this classic film from rotting somewhere at Paramount.

Initially, this Canadian movie was brought back to life by Bruce LaBruce’s 1991 super-lo-fi film, “No Skin Off My Ass.” LaBruce’s framed that entire film off a distorted VHS copy of Altman’s movie.  Altman’s 1969 film was dismissed and quickly faded into obscurity. Thanks to LaBruce’s underground film and Altman fans this film has returned from its imposed exile. It would take two decades but Olive Films brought the original film back to life!

Poor Miss. Frances Austen. She tries not to look, but she seems to live in a house of mirrors.  That Cold Day in the Park Sandy Dennis / Michael Burns Robert Altman, 1969 Cinematography | László Kovács

Poor Miss. Frances Austen. She tries not to look, but she seems to live in a house of mirrors.
That Cold Day in the Park
Sandy Dennis / Michael Burns
Robert Altman, 1969
Cinematography | László Kovács

Sandy Dennis plays her character like only Sandy Dennis can. She is a wealthy but lonely virgin spinster. She lives a seemingly mundane life among older people. It is never clearly articulated, but thanks to Dennis’ performance we receive several clues that something is wrong with “Miss. Frances Austen.” Actually, we are almost certain something is very much wrong.

When she notices an apparently homeless, mute and handsome man sitting alone on a park bench in the park, Miss. Frances Austen breaks convention and insists the “helpless” boy come to her swank home to warm up and have some food. She sends her cook and butler away. Why does she even have a cook and a butler in such a small but nice condo? It is never clear.

Now, we'll just play a little game.  Sandy Dennis / Michael Burns That Cold Day in the Park Robert Altman, 1969 Cinematography | László Kovács

Now, we’ll just play a little game.
Sandy Dennis / Michael Burns
That Cold Day in the Park
Robert Altman, 1969
Cinematography | László Kovács

This film was mis-judged by film critics at the time of its release. It is an appropriate bookend to Altman’s interest in the psycho-sexual thriller. A few laters, Altman would pursue this genre again in “Images” — a film which received more acclaim than I think it deserved. Here, in “TCDITP” Altman more precisely and effortlessly slips into a woman’s damaged psyche. Much of the credit is deserved to Sandy Dennis.  The film is short and fast-paced. Yet it is filled with fairly uncomfortable and realistic scenes between Dennis and Michael Burns as the handsome young man. As Miss. Frances Austen begins to open-up to the mute mostly nude young man who is unable to speak either with/to her — things start to take an oddly warped vibe. Clearly, Miss. Frances Austen (and her name bears repeating) is a virgin and dealing with a whole lot more than sexual repression.

"I'm not going to get under the covers or anything. I'll just lay on top. I have to tell you something. If you feel that you want to make love to me, it's all right. I want you to make love to me. Please." Sandy Dennis on the verge of something... That Cold Day in the Park Robert Altman, 1969 Cinematography |  László Kovács

“I’m not going to get under the covers or anything. I’ll just lay on top. I have to tell you something. If you feel that you want to make love to me, it’s all right. I want you to make love to me. Please.”
Sandy Dennis on the verge of something…
That Cold Day in the Park
Robert Altman, 1969
Cinematography | László Kovács

The “twist” does not come as a “surprise” or even a device in a very smart move by Robert Altman. We know what is coming. This handsome mute boy is “playing” Miss. Frances Austen. He is using her for his own twisted fun and grift. The actually unexpected “twist” comes shortly after the “expected” one. After this twist is delivered, the viewer is likely to chuckle and feel reasonably entertained by this strange little movie.  The thing is — Robert Altman and Sandy Dennis had just pulled-off a great cinematic trick:

The final turn of the movie isn’t going to leave your mind. What seems comical gradually takes on the sinister and disturbing.

Just because it says "Exit" doesn't mean it is a way out.  Sandy Dennis That Cold Day in the Park Robert Atman, 1969 Cinematography | László Kovács

Just because it says “Exit” doesn’t mean it is a way out.
Sandy Dennis
That Cold Day in the Park
Robert Atman, 1969
Cinematography | László Kovács

A long neglected bit of cinematic magic has been saved by Olive Films. Do not miss it. Unlike the above mentioned films, this one is truly outstanding. There are really no jokes, camp or “bad” moments. Altman’s That Cold Day in the Park is near perfect.

Like Olive Films, Shout Factory has also done an amazing job of saving, restoring and re-distributing forgotten cinematic history. Unlike Olive Films, Shout Factory has a been more of a budget and access to more fully restore film. While far from being able to achieve what The Criterion Collection can, Shout Factory does great work. Perhaps their most important gift to Film Restoration is it’s recent release of Werner Herzog: The Collection. The set features 15 of the brilliant director’s best work. Thus far, Shout Factory has released 3 of those individually.

Their collection continue to grow. Thus far the films that they have restored and distributed that meant the most to me have been Cat People, Audition and The Herzog Collection. That doesn’t mean I haven’t enjoyed other re-discoveries. Perhaps my most personal favorite film that Shout Factory rescued would be Lewis John Carlino’s much neglected and forgotten pretty mess of a movie, The Sailor Who Fell From Grace With The Sea.

Kris Kristofferson / Sarah Miles The Sailor Who Fell From Grace With The Sea Lewis John Carlino, 1976 Cinematography | Douglas Slocombe

Kris Kristofferson / Sarah Miles
The Sailor Who Fell From Grace With The Sea
Lewis John Carlino, 1976
Cinematography | Douglas Slocombe

Yukio Mishima’s exceptionally interesting, disturbing and thematic novel lost almost all of what makes it so brilliant when Lewis John Carlino adapted it for the screen in the mid-1970’s. It would be wrong to state that this film starring Sarah Miles and Kris Kristofferson is good. But it would be equally unfair to say that it holds no interest or merit. Carlino’s film is just strange enough to make it all interesting. Carlino’s interest in bringing Mishima’s book to the screen is limited to the perverse eroticism and sociopathic tendencies of the stepson. And, get ready. This is one of those “WTF” 1970’s Cinematic Moments.

Jonathan Kahn as the son and stepson to The Sailor has a few issues... The Sailor Who Fell From Grace With The Sea Lewis John Carlino, 1976 Cinematography | Douglas Slocombe

Jonathan Kahn as the son and stepson to The Sailor has a few issues…
The Sailor Who Fell From Grace With The Sea
Lewis John Carlino, 1976
Cinematography | Douglas Slocombe

Filmed in a “Vasoline Gauzed Haze” a loney and sex-starved widow/mother sits in isolation. She is unaware that her seemingly sweet son has drilled a peephole into her bedroom so that he can watch her. The son watches her masturbate as well as cry. Now, one would assume that the son is “getting-off” on this. But that is not necessarily the case. It is never clear.

Anne's son likes to watch.  The Sailor Who Fell From Grace With The Sea Lewis John Carlino, 1976 Cinematography | Douglas Slocombe

Anne’s son likes to watch.
The Sailor Who Fell From Grace With The Sea
Lewis John Carlino, 1976
Cinematography | Douglas Slocombe

When a tired and weary sailor meets “Mummy,” Sarah Miles falls immediately in love as does Kristofferson. At the time of the film’s release much to do was made over some infamous sex scenes between the two actors. Though, most of those scenes failed to make it into the movie, but went straight to Playboy Magazine for marketing.

The Sailor falls... Kris Kristoffers getting very personal with Sarah Miles The Sailor Who Fell From Grace With The Sea Lewis John Carlino, 1976 Cinematography | Douglas Slocombe

The Sailor falls…
Kris Kristoffers getting very personal with Sarah Miles
The Sailor Who Fell From Grace With The Sea
Lewis John Carlino, 1976
Cinematography | Douglas Slocombe

But what a campaign it was! Interestingly, the eroticism remains running between Miles and Kristofferson, but their on-screen eroticism is not as bold as the following snaps from the movie that went to the cutting room floor to avoid an “X-Rating” — they served to promote the movie even today.

“Mummy’s” sweet son is troubled by the Sailor’s decision to abandon his life at sea to live with he and his mother. His level of cruelty as “the leader” of his band of fellow “enfant terrible” begins to even make his followers a bit nervous.

This is one poor little kitty who should make a run for it!  The Sailor Who Fell From Grace With The Sea Lewis John Carlino, 1976 Cinematography | Douglas Slocombe

This is one poor little kitty who should make a run for it!
The Sailor Who Fell From Grace With The Sea
Lewis John Carlino, 1976
Cinematography | Douglas Slocombe

The Sailor catches the sun watching him make love to his wife and the boy’s mother. Well, things just take a very twisted turn after this.

Sarah Miles and Kris Kristofferson made the news with this infamous scene.  The Sailor Who Fell From Grace With The Sea Lewis John Carlino, 1976 Cinematography | Douglas Slocombe

Sarah Miles and Kris Kristofferson made the news with this infamous scene.
The Sailor Who Fell From Grace With The Sea
Lewis John Carlino, 1976
Cinematography | Douglas Slocombe

The movie is a cinematic error. It doesn’t work, but it doesn’t work so well that it offers a sort of interesting appeal that almost slips into “camp” but instead loops itself into a decidedly sick and twisted cult movie. The sad thing about this film is that Yukio Mishima’s novel would make for an amazing film if the filmmaker were talented enough to translate/adapt it for the screen. The book is so dark and the themes so complex, it is doubtful any will attempt it.

AVCO Embassy Pictures did a great deal of cutting to secure an already-pushed R-Rating The Sailor Who Fell From Grace With The Sea Lewis John Carlino, 1976 Cinematography | Douglas Slocombe

AVCO Embassy Pictures did a great deal of cutting to secure an already-pushed R-Rating
The Sailor Who Fell From Grace With The Sea
Lewis John Carlino, 1976
Cinematography | Douglas Slocombe

As silly as the movie is, be warned that the depictions of animal cruelty and sexuality are fairly realistic/graphic. The actors do a fairly decent job. For most of us, however, the movie will neither shock or disturb us as much as it causes pause.

How in the world did this movie ever get made?!?!?

Sarah Miles and Kris Kristofferson serve as specimens for voyeuristic interest and psychotic interests. The Sailor Who Fell From Grace With The Sea Lewis John Carlino, 1976 Cinematography | Douglas Slocombe

Sarah Miles and Kris Kristofferson serve as specimens for voyeuristic interest and psychotic interests.
The Sailor Who Fell From Grace With The Sea
Lewis John Carlino, 1976
Cinematography | Douglas Slocombe

If we didn’t need further proof that 1970’s decade was truly odd era, Carlino’s adaptation of the acclaimed novel actually fit right into the cinematic syntax of it’s day.

I am currently working “covertly” and “off the grid” to help find another flawed but interestingly potent b-grade mishap from the World of Grind House Cinema.

I first saw this strange drive-in / grind house movie in 2005. I had been asked to view it as a potential for a film festival. I loved it, but for all the wrong reasons. The festival passed and last night I discovered that my “screening” DVD had died. Bummer. This movie is awesome and strange. The date of 1977 is incorrect. This film was actually shot in The Bay Area in the very early 70’s. It has been released under a number of times with different names. The original title was “The Seducers Deadly Game.” It found it’s way on double bills in NYC and LA between 1974 and 1975.

An odd venture into "Feminist" Fury is as flawed as it is interestingly brilliant.  Seymour Cassel, Sondre Locke and Colleen Camp  Death Game / The Seducers Deadly Game Peter S. Traynor, 1977/1974 Cinematography | David Worth

An odd venture into “Feminist” Fury is as flawed as it is interestingly brilliant.
Seymour Cassel, Sondre Locke and Colleen Camp
Death Game / The Seducers Deadly Game
Peter S. Traynor, 1977/1974
Cinematography | David Worth

Eventually thanks to Sondre Locke’s fame as Clint Eastwood’s leading lady, it was released again in 1977 as Death Game. This is the name that stuck and it’s 1977 release was wide at drive-in’s across the nation. There are also several versions floating around out there. One is an edited 91 minutes in length. The other is the one I owned which runs at about 105 minutes.

You realize that this might be a strange movie as it begins with a title card warning that everything shows is completely true. But then the screen fills with some children’s artwork of family that feels a little “off” from the get-go. And a purposely annoying little sing-a-along song accompanies the credits.

The film stars Seymour Cassel as a father/husband/business man who has the house for the long weekend. All to himself, he decides to have a bit of fun. He lets it to “post-hippie-love-children” sex vixens played by the infamous Sondre Locke and Colleen Camp. Rule #1: if it is 1971/1972 and two hippie chicks knock at your door after sunset, don’t let them in.

Sadly, nobody taught Mr. Cassell Rule #1 for the early 1970’s.

Sondra Locke, Colleen Camp and Seymour Cassel Death Game Peter S. Traynor, 1977 Cinematography | David Worth

Sondra Locke, Colleen Camp and Seymour Cassel
Death Game
Peter S. Traynor, 1977
Cinematography | David Worth

“Sorry to bother you, really. But we’re lost!”

It is important to point out that this screen caps are deeply lacking in value because the current copies available all suck. Amazon sells one, but it is shorter in length and fairly poor quality.

They seduce poor Seymour Cassel in hazy 3-way and then the sick/twisted games begin. Turns out our hot hippie vixens have more in common with Charles Manson than Rod McKuen. They also each have a bone to pick with men. And for better or worse Seymour Cassel comes to represent “Daddy” to both of them. Though, clearly adult women both claim to be minors and that he has raped them.

They quickly began calling him “Daddy.” They are out for sex, blood and major home invasion wreckage. They also decide to put “Daddy” on trial for all the horrible things men have done to not only them, but for all of woman kind. Their mock trail is as comically bad as it is rather disturbing. And much like The Sailor, Seymour’s cat attracts some very unwanted attention from these two crazy sisters with a grudge.

This sick movie is just wrong, but infectious. If you’re like me you will be hooked to the screen until you come to the movie’s equally odd thud of an ending.

The Official 1977 Movie Poster Sondra Locke, Colleen Camp and Seymour Cassel Death Game Peter S. Traynor, 1977 Cinematography | David Worth

The Official 1977 Movie Poster
Sondra Locke, Colleen Camp and Seymour Cassel
Death Game
Peter S. Traynor, 1977
Cinematography | David Worth

This movie was shot in 13 days with very limited audio-recording capabilities. The entire film had to be re-dubbed. The great Jack Fisk served as set designer and his wife, Sissy Spacek, is said to have had a hand in the costuming. She apparently declined to be in the movie. Seymour Cassel hated making this movie so much that he refused to show up and dub his lines. His lines are actually spoken by a member of the crew. The dubbing impact is annoying at first but it starts to take on a sort of Surrealistic vibe as the movie progresses. It is sort of like being dropped into a total nightmare.

The thing about “Death Game” / “The Seducers” is that it is impossible not to watch. It just keeps “one-up’ing” itself scene after scene. The movie is completely insane. If you get the opportunity, see it. Be warned, as silly as it all is — this is not a movie for all tastes. Heaps of inappropriate nudity, cruelty and violence. But seriously, this movie is so bad it becomes brilliant! I’d put it one notch above Roger Vadim’s also odd but big-budget “Pretty Maids all in A Row.” ...this is a major compliment.

"We find you Guilty!" Sondra Locke  Death Game Peter S. Traynor, 1977 Cinematography | David Worth

“We find you Guilty!”
Sondra Locke
Death Game
Peter S. Traynor, 1977
Cinematography | David Worth

I had the pleasure of asking Mr. Cassel if he would be willing to attend a screening and a have a “Q&A” with the midnight audience for a 2004 film festival. He was nice, but he quickly turned the offer down.

From my brief conversation with the great film actor, I gathered that Fisk/Spacek were involved in the production to raise some funds for a David Lynch project. Cassel could not remember, but I’ve always wondered if this was “Eraserhead‘ — much of which was actually shot in Fisk/Spaceks’ garage.

At any rate he also told me that he had been informed he would receive a script, but when he showed up the plan had been changed. The entire film was to be improvised by both Sondre Locke and Colleen Camp!  Improvising all of their lines under the guidance of the director, Mr. Cassel was to improvise toward their lead only. When it became clear that “sound” was not a logical expectation of this “off the grid” movie project, Mr. Cassel lost his patience. And who can blame him?

Clearly there was no love lost between this great actor and his two leading ladies and the film’s director. Mr. Cassel preferred to talk about Jack Fisk, Sissy Spacek and David Lynch. Though, he couldn’t remember if Lynch was ever present at the messy shot in which an entire home was essentially destroyed. However I did push him a bit.

He was genuinely shocked to discover that the screening was expected to sell out and that this little film has a following as well as having served as the subject of more than a few Doctoral Theses.

What more evil things can we do?  Sondra Locke Death Game Peter S. Traynor, 1977 Cinematography | David Worth

What more evil things can we do?
Sondra Locke
Death Game
Peter S. Traynor, 1977
Cinematography | David Worth

The last thing he said to me was, “I don’t know, Kid. Go figure. Shocks the shit out of me.”  And then he just laughed.

The truth is we never really know how a work of art — no matter it’s intention or motivation — will age.

But Film Art is far too important for us individually as well as a culturally.

We should never dismiss anything too quickly.

Like Mr. Cassel, it may shock us, but we never really know — for 20 years at least.

Catherine Deneuve is watching, hunting and smoking hot The Hunger Tony Scott, 1973 Cinematography | Stephen Goldblatt

Catherine Deneuve is watching, hunting and smoking hot
The Hunger
Tony Scott, 1973
Cinematography | Stephen Goldblatt

Matty Stanfield, 8.13.2015