MOUSE BROWN 4

Inland Empire (David Lynch, 2006)

Albini once said to me how he believed in the fundamental principle that good music sells - that's all there is to it, if it's good, it'll sell. I agree with that to a point, yet a lot more people will see Rush Hour 3 this weekend than will have seen almost any David Lynch film, with the possible exception of the dreadful Dune. Ironic?

Inland Empire is shot on video which takes some getting used to having been accustomed to the director's usual high production values and cinematography. Beyond that incongruence however, this is very much classic Lynchian territory - and he gives free rein to his exceedingly fertile and surreal imagination over the entire 3 hours of the movie in ways that go beyond even my previous (and still) favourite, Fire Walk With Me.

In fact, although many mainstream reviewers (predictably) complain that it's too weird, and that it doesn't make sense (where have we heard that before?), while without wishing to second-guess Lynch's original intentions, to me at least, it's a fascinating and powerful exploration of a person's, in this case a woman's, layers of the unconscious mind - the wild ocean of possibility where any thing can happen, where any thing is possible (see EXOTERIC where I discuss this in relation to my own work). The fears, the lists of what needs to be done, the social pressures, the desires, the doubts, the relationships, the internal conflicts. Even the title itself can be summed up thus.

That the sexiest actor on the planet, Jeremy Irons, also stars is yet another reason for seeing this incredible work. Not, of course, that another excuse is in any way required.

SOPHRONIA 2

Get outside and see the meteor shower NOW!

FLUFFY AND WHITE 2

More beautiful clouds - nacreous ones this time.

SPLASH

I might be extremely pleasant, and indeed I am, yet it hasn't stopped me from calling Simon Reynolds on his bullshit.

Amidst the bad grammar and typos of one of his recent chewy posts, you notice there's no irony lost on this hapless yet harmless copy'n'paste merchant as he helpfully includes some definitions of Racket for us all, and thus allows us to enjoy one of those exquisite moments when the art itself acts not only as the reflection in the well, but the hands pushing him in. Makes it all worthwhile.

We can see that, in his usual slack sloppy style, Reynolds clearly doesn't know the lyrics ('why should I?' you can hear him protest, 'Gen's already told me everything I need to know'), for otherwise he'd soon realise that his own entire career is a poignant embodiment of the point he's trying to make; and the fourth applicable definition of Racket, sadly not included in his Collins, is an it he will never get, even if we were to dedicate a further three decades to it.

FLUFFY AND WHITE

Check this must-see collection of cloud formations seen in Iceland by my good friend Akiko Hada. Doesn't it make you want to visit?

RETRAITS 2

SHOWINGS

This last week's films I've enjoyed (for the sake of sparing embarrassment, the turkeys don't get a mention):

Zodiac (David Fincher, 2007)
Hustle & Flow (Craig Brewer, 2005)
Inland Empire (David Lynch, 2006)

++++ 2

Yes, and as I look at you now I can see why people might love you.

I can see exactly what they might want from you. And what they desire you to do for them. In a way, it seems to make sense in them wanting that, from you; in willing you to do it, for them. So fucking desperately. Because in their minds you've got what they want. And sooner or later they'll also find out that they can't get it because you simply won't give it to them, will you?

One day we finally learn the lesson which is that to give people what they want from you is not to give them what they want from you. Life's pretty fucking easy from then on.

And now that I've already been given what I want, the way I can now really touch you deeply is to give up that desire to want it.

RETRAITS

++++

You're not waiting, you're hanging about. Aimlessly. That's precisely what you're doing - just fucking around watching the passing show when it happens. It's perfectness and it's all there. It's not being in the right place at the right time because that might imply some reasoning, some intent, some kind of choice. Let's not rationalise this. You're here and I'm here and that's how it is. That's how we meet.