| Art for the sake of art |
|
| written by emdoub |
May 5, 2009 - 3:47 PM PDT |
Certainly not moviemaking for the sake of storytelling.
Beautifully shot, remarkably acted, with loads of allegory and symbolism - what's not to like?
Never mind that the story is remarkably oblique at many points, that characters don't develop, and that the only motivation the audience is ever privy to is the curiosity of the protagonist - that's not important here. Unless it is.
You'll like this film if you like dissecting film, admiring technique, and find plot secondary. If your primary purpose is to hear a tale that you'll care about, you may want to pass this one by - it's largely a pretty examination of the human psy.... well, a blurry reflection of a distorted shadow of the human psyche. |
| What Kind of Beer Do You Like? |
|
| written by BorisDarling |
December 15, 2004 - 7:24 PM PST |
|
2 out of 4 members found this review helpful
|
I read this interview with David Lynch in which he said that the way he does his writing is by going into a Bob's Big Boy, ordering coffee, and drinking lots of coffeee with sugar until he's wired into some alterred state, then writes his stuff.
So, does that explain everything? No, I guess you're right it doesn't.
But Blue Velvet, along with Repo Man and River's Edge, is one of the truly great movies to come out of America in the 80's. Note the oversaturated colors everywhere, until everything is creepy. Note the dialogue is painfully bad when the "good" people are speaking and quite good when the "bad" people are speaking.
I find his perverse way of turning on his audience to be far more interesting than say, the way Peter Greenaway does it. But to say more would be to give away the game.
Just remember that Frank is really a sensitive, new age guy, and is just misunderstood. |
| Dark |
|
| written by jpceja |
September 3, 2003 - 5:17 PM PDT |
|
3 out of 9 members found this review helpful
|
We can all love David Lynch for the way he incorporates postmodern irony with serious humanism. Why is his irony postmodern? Because of his three-step process, with which the way he makes up MacLachlan and Dern's characters, spins them as ironies, and then spins them again by awarding them an ultimate victory by giving them a final and genuine grown-from-irony validation -- that is not the same thing as 'triumph', mind you. In Blue Velvet, Dern and MacLachlan's kids eventually win the day, but their ultimate realization is no different than Naomi Watts' character(s) in Mulholland Drive, and she ends up a suicide.
Love Lynch for that ironic double-spin of his, there's no one else working who does it quite like he does. Postmodernism supposedly takes symbols and people and does away with them by reproduction. Not necessarily: here we see how it creates meaningful stories. |
| great.. weird.. sexy.. dirty.. intellectually stimulating..yes..it's possible.. |
|
| written by psychodrama311 |
June 7, 2003 - 11:47 PM PDT |
|
0 out of 7 members found this review helpful
|
| isabella rossellini.. if you didn't know who she was.. you did after this movie.. kyle maclachlan pretty much stayed the same.. but following this movie and twin peaks.. he never really came to be a... star i suppose.. but for a brief period in tyme... he was mister.. goth i suppose.. this movie is what helped american beauty and the gift work. a spooky southern type of movie. |
|
|
Your cart
© 2006 All Media Guide, LLC. Portions of content provided by All Movie Guide®,
a trademark of All Media Guide, LLC.