MOVIE REVIEW . Inland Empire

by Chris   ⋅   February 17, 2007   ⋅   Comment now   ⋅    RSS

Going into David Lynch’s Inland Empire I found myself somewhat apprehensive. You see, for the longest time I’ve been a David Lynch fan, but in recent years his films have been left to languish on our DVD shelves. It’s not that they’re uninteresting. It’s just that they don’t muster the same allure as when I was a younger, more fiercely fanatical film buff. It got to the point where I’ve even sold off my copies of Blue Velvet and Wild at Heart to make room for more enticing fare (Don’t worry. If the urge hits me I can still obtain copies from the library down the street). But had I indeed outgrown David Lynch? Well, yes and no.

The story of Inland Empire, aside from being the tale of “a woman in trouble,” is that of a film production. Aspiring actress Nikki Grace (Laura Dern) has been cast as a lead in On High In Blue Tomorrow a remake of a previous film, based on an old Polish tale, that was never completed in the first place. The reason attributed to the production’s failing was an old gypsy curse. Well, that and the murder of the film’s two lead actors. But what is the tale of On High In Blue Tomorrow? Well, it concerns a marriage and a murder – make that “a brutal fucking murder” – and time, particularly “what comes before, and what comes after.” Yes, I know it seems vague, but those are the key elements you really need to know. As production begins on On High In Blue Tomorrow, in typical Lynch Fashion, Nikki finds her grip on reality slipping, as the world of On High seems to meld with that of her own.

There’s a story of Lynch’s discovery of the plot for Lost Highway that most people may not have heard. This was told me by a friend of Lynch’s family, and given Lynch’s prankster nature, I believe it true. Very late one night a fragment of an idea hit, and Lynch called up his producer. “I have a great idea for a film. A man receives an envelope.” *Click* . That’s it. That’s all. A simple action shrouded in two hours of densely surreal head scratching. You can almost see Lynch chuckling behind his red curtain. As Laura Dern’s “woman in trouble” states in Inland Empire, “This is the kind of shit I am talking about.”

But that’s not to say that Inland Empire is complete nonsense. Surely it isn’t. But, it’s not as dense or meaningful as some would like you to believe. Those cryptic, strangely stilted sentences seemingly lifted from a Pimsleur Language lesson? For the most part they’re just vague descriptions of elements and figures in other sequences scattered throughout the film. You see, I believe Lynch’s basic creative process is thus 1.) Come up with a series of mood pieces - visuals, sounds, feelings. These can incorporate elements from other Lynch projects to serve as foundation elements and/or points of reference for fans. 2.) String them in series for the requisite amount of minutes 3.) Bookend said sequences with plot elements in a seemingly grounded, yet unstable reality. 4.) Construct the dialog. The bulk of these vaguely referential lines also serve to cloud the handful of lines in which Lynch blatantly divulges to the audience the twist of his film. Part of the fun is piecing together exactly what they are referring to. The other part is picking the latter gems from the “filler”.

While I generally frown on the dogmatic teachings of film school, I would have to say that the interpretative tools they equip you with do help the enjoyment of a Lynch film. Never has a director so boldly persisted in doing exactly what the film professors tell you not to do. Shots cut from distant long shots to uncomfortable close ups with nothing in between. Likewise, many sequences will start with such an extreme close up, in lieu of an establishing shot, thereby serving to disorient the audience. Lynch also revels in awkward framing, and even stranger treatment of conventional situations. Humorous and romantic sequences are often lent a dangerous and disturbing quality (see this film’s drop frame kiss, and a backyard picnic discussion of lack of toilet paper), while lines of grave seriousness are lent a sense of hilarity. Often, these are aided in no small part by the droning, deep bass sound effects, or musical accompaniment (in this film, Beck’s placed side by side with 50’s classics and the usual jazz). And now, with Inland Empire, Lynch uses the dreaded Digital Video as his medium for image capture. This complete disregard for convention is often what makes his films so strange and interesting.

Alas, I seem to be talking around Inland Empire, speaking of Lynch’s body of work, rather than this single work. But, with Lynch, that’s often the key to understanding – seeing the forest for the trees, if you will. Laura Dern’s performance is worth noting. Though for most of the film she maintains the same, watery eyed, dumbfounded look, when she does launch into more dramatic elements she does so with conviction. Also, like Watts in Mulholland Drive, Dern runs the full gambit of glamour to street trash, proving in some places striking, others plain, and in others near unrecognizable. Similarly, performances by Jeremy Irons (Thank God he’s finally loosed himself from those stupid fantasy pictures) and Justin Theroux (one of my favorite parts of Mulholland Drive) are worth noting. There are also quite a few Easter Eggs for the astute viewer. Watch out for Lynch regulars, as well as cameos by assorted personalities, from porn star Masuimi Max to William H. Macy and Nastassja Kinski.

Some keys for having fun with Inland Empire? Listen to the old lady at the start. Take to heart everything she says. Even though what she says is strange and funny, she has a point. Furthermore, remember that things are cyclical. Departure points will often be returned to. Keep an eye on various background elements, especially letters and the appearance of letters, as well as colors (in particular blue and red). Furthermore, note background elements that incorporate both of these. Also keep in mind the film made within the film. Keep track of names, Nickki vs Susan and Devon vs. Billy. Lastly, yes, it’s true. Animals will respond favorable to those who have a way with them. Even rabbits and monkeys. And, though Niko has a hole in her Vagina that leads into her intestines, she might still be good for a dance. Confused? Don’t worry. That’s part of the fun.

Inland Empire struck me as Lynch’s most indulgent and oddly straightforward picture, but I still had fun. Good? Yes. Great? Maybe not. But, at least it’s Lynch.

About the Author

Chris Nelson has been a film fanatic since age six. A former film and English major, he is now a Software Engineer and contract Technical Writer living in the Silicon Valley.