Archive for April 30th, 2010

© 2010 by James Clark

The prospect of understanding what it is Lynch communicates from film to film is never within easy reach; but it only attains to extra-galactic proportions with that battle-fatigued singularity, titled, Dune (1984), and directed, variously, by “David Lynch” and “Alan Smithee.” Lynch has been quoted as being attracted to a film rendition of Frank Herbert’s 1965 blockbuster sci-fi novel, inasmuch as there were “tons and tons of possibilities for things I loved.”
Notice he did not allude to “things” Herbert loved. As coming from a practitioner in good standing of sci-fi as “entertainment,” those latter “things”—abundantly salient in the literary plot—would occupy a groove of breath-stilling futurity (the story begins in the year 10,192) wherein awesome physical forces clash for the sake of succeeding in dominating all comers. “Domination” is the keyword; and, you know what? It ain’t new. One of the “things” Lynch loved was industrial design in the form of continuation of the occupant’s level of consciousness, and in Dune he clearly relishes enmeshing the “advanced” experiences in fusty Victorian/Edwardian decor (and garments). For instance, on a reconnaissance mission by the hero and his royal father, conducted by someone known as the “Judge of the Change,” the plush, quaint and busy interior of their flying craft (with silk-quilted walls, no less) strongly resembles that of “innovator” Captain Nemo’s submarine in the Disney version of Jules Verne’s Twenty Thousand Leagues under the Sea (1954). (Design tinctures [as well as Oxbridge emanations] from other Victorian adventures, like Journey to the Center of the Earth [1959] and The Time Machine [1960] also come to bear. And, to cap things off, the desert derring-do comes saturated with tropes from the “stout chap” heroics of Lawrence of Arabia [1962].) (more…)

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Guess the pic is back

Joel Bocko has selected this mystery image. Please share your own conjectures below: whoever guesses correctly is invited to send him their own selected screen-cap at movieman0283@gmail.com. He will then post it here, and the game will begin again. (Make sure you don’t title the file with any giveaway names, so that he can participate too!)

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by Allan Fish

(UK 2005 358m) DVD2

Looking for Ambrose Chapel

p  Sanne Wohlenberg  d  Dearbhla Walsh, Susan Tully, Brian Kirk  w  Simon Ashdown, Jeremy Dyson  ph  Lukas Strebel  ed  Emer Reynolds, Tony Cranstoun

Kris Marshall (Dudley Sutton), Ian Puleston Davies (Shirley Woolf), Daniel Mays (Carter Krantz), Roy Barraclough (Onan Van Kneck), Judy Parfitt (Mercy Woolf), Frances Barber (Connie), Sarah Smart (Lola Sutton), Emily Aston (Ruby Woolf), Philip Jackson (Leo Finch), Beth Cordingly (Vienna), Mark Gatiss (Ambrose Chapfel), Ron Cook,

It all begins with a man in a gorilla suit climbing up Blackpool Tower.  We see him fall.  We don’t see why or who he is.  Could be a she for all we know.  We are then told it’s several days earlier.  Each episode will begin the same way with the same gorilla-suited man plummeting to the pavement on the Golden Mile, and each time the clock ticks down.  This in essence is Funland’s Laura Palmer.  I evoke the comparison with David Lynch’s ubercult quite deliberately, for there’s more than a touch of Lynch about this sleeper hit for the then fledgling BBC3. 

            One wouldn’t necessarily have expected too much.  Dyson was one of the creators of the grotesque comedy series The League of Gentlemen, which had long since lost its original brilliance.  Ashdown was one of the main staff writers on EastEnders for many years.  It would not have been too hard to guess we could expect a darkly comic soap opera pastiche.  It came along just one year after an another excellent fantasy set in the old Northern entertainment capital, and the spirit of David Tennant’s copper from my home town and David Morrissey’s Ripley Holden can be felt everywhere.  It’s the same place as was seen in Blackpool, yet it’s like it’s being viewed not through the nostalgic lens of that series, but through a distorted lens, like the hall of mirrors at the old Pleasure Beach House of Horrors.  (more…)

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