Case in point: the references to The Wizard of Oz serve essentially no purpose other than to show off. You’re excused for wiping the sweat off your face while I go on to mention how the whole film is all very open about its artificiality. ![]() Flashbacks, inserts, all manner of foggy lighting, distorted fish-eye lens, stagey background work, cartoon-character dress-up, visual repetition, color-coding, lurid melodrama, kitschy satire, pop-culture smorgasbord, campy soap opera, all manner of deranged The Wizard of Oz references, and whatever Lynch had for breakfast that morning. But on top of this, Lynch has a field-day. So then, what does cinematic circus master David Lynch pull out of bag of tricks this time? Well the narrative, functionally, is just two kids head-over-heels in love, Sailor Ripley (Nicolas Cage) and Lula Pace Fortune (Laura Dern), on the run from mother-dearest, Marietta Fortune (Diane Ladd) – it’s a road movie about escaping suburbia. And they’d be completely right too, but I still like the film anyway. Everyone else who could conceivably see this film will probably be turned off by how garishly oppressive and gloriously messy it is to have any interest in reading this. ![]() A question: Have you ever seen a movie that made you want so furiously to scribble down notes about its greatness while watching that you were actually annoyed that it kept you looking at the screen with its unapologetic greatness to the point of being unable to write anything down legibly? I ask in this form, of course, because naturally I’m only writing to people who would want to write down notes about movies while watching.
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