ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Volite li Lyncha? Sta mislite o njemu i sledecim njegovim filmovima:

Eraserhead (1977)    
The Elephant Man (1980)    
Dune (1984)    
Blue Velvet (1986)    
Wild at Heart (1990)    
Twin Peaks: Fire Walk with Me (1992)    
Lost Highway (1997)    
The Straight Story (1999)    
Mulholland Dr. (2001)

Meni je licno najjaci (ako ne racunam Twin Peaks za kojim sam otkidao kao klinac) Mulholland Drive, koji se istice Lynchovskom antimitoloskom campy zlokobnoscu (zapocetom sa Blue Velvet), jebackim transpozicijama izmedju likova sa gotovo neiscrpnim samoreferencama. slozeno strukturisani i totalno kontraverzni film koji po meni zasluzuje shiru spiku sto je to bila o Donnie Darku...


tauruse-joruse, nemo unapred da strepis, lyncha ni ja ne uspevam 1:1 da psychoanaliziram, suvise je to naopak madman...   :!:

Moje obožavanje D. Lyncha je toliko duboko da se i ne usuđujem da ga (sad, i ovde) obrazlažem rečima.

Reći ću samo ovo: ne mogu još da glasam, jer čak 3 njegova filma su mi gotovo podjednako genijalna – ERASERHEAD, THE ELEPHANT MAN i BLUE VELVET. Prva 2 sam nedavno gledao po ko zna koji put na divixu, a VELVET imam, i treba da ga se podsetim ovih dana da bih odlučio koji će od ova 3 za dlaku da prevagne nad ostalima.

Ipak, mislim da bi poredak izgledao ovako:

Blue Velvet
The Elephant Man
Eraserhead
Lost Highway
Mullholand Dr.
Twin Peaks: Fire Walk with Me
Dune
Wild at Heart
The Straight Story


Usput, Sand, ono se ipak zove STRAIGHT story.
Frojd bi bio ponosan... :wink:

Jas' glasao za Somot. Mnogo sam pre voleo Linca, ali nekako nas je zivot rastavio...Nije da ga sada mrzim, daleko od toga, ali mi njegovo delo ne zauzima vise ono mesto koje je ranije imao.

Divlji u srcu su mi takodje jako dragi, a za Fire, iako je sav "naopak", mislim da je jedan od emotivno najbremenitijih (kako se to kaze) americkih filmova devedesetih...

Linc je zaista covek za sebe. Svidja mi se sto je ostao svoj i sto ga nije pojeo kult, nego je otisao tamo gde treba - na svoje "stvaralacko mesto", gde ce ga obozavaoci slediti, a kriticari ga ostaviti na miru.

Vidim svi se odusevljavate Eraserheadom, a ja ne mogu nista da kazem, jer je to jedan od zaista retkih filmova sa kojih sam izasao. Znam samo da sam se strasno iznervirao sto je glavni junak imao kretensku frizuru. Znam, moj propust, ali mozda i nije. Ne kajem se nimalo, ali opet, sta ga znam.

I da, BAS bih voleo da vidim raspravu o Lincovim filmovima, a narocito tumacenja. Stvarno.

A evo i frizure:

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.imusic.com%2Fsoundtracks%2Fphotos%2Feraserhead.gif&hash=8ada6ec6416a92da12becc15b8786eb04482009c)

:D

The Elephant Man.  :)

I meni je bilo tesko da se odlucim, i to izmedju cetiri filma (Elephant Man, Eraserhead, Blue Velvet i Mulholland Dr.).

Elephant Man je prvi Lynchov film koji sam gledao, i i dalje mi je najomiljeniji. Mislim da Lynch nije napravio los film, a malo iskacu jedino Dune i Straight Story, ali i to su sasvim okej filmovi cija je najveca mana to da ih je mogao snimiti i neko drugi.

Redosled bi bio sledeci:

The Elephant Man

Eraserhead

Blue Velvet

Mulholland Dr.

Lost Highway

Wilde at Heart

Twin Peaks - Fire Walk with Me

Dune

The Straight Story

...s tim sto prva cetiri ubrajam u remek-dela.


BTW Sandmane, na jednom drugom topicu si pomenuo kako ce Eraserhead uskoro na DivX, mala ispravka, Eraserhead je vec na DivX-u i to jos odavno (ima par meseci), a ja sam ga i preveo (iako, je tih stotinak linija teksta ponajmanje bitno u filmu, ali ajde...). Ono sto je PRAVA vest je da se od pre desetak dana na DivX-u pojavio - Short Films of David Lynch (2002), nedavno izasao na DVD-u u Americi.  :!:

my list:
Mullholand Dr.
Lost Highway
Blue Velvet
The Elephant Man
Eraserhead
Twin Peaks: Fire Walk with Me
Dune
The Straight Story
Wild at Heart

Quote from: "ghoul"
Usput, Sand, ono se ipak zove STRAIGHT story.
Frojd bi bio ponosan... :wink:

i treba, ja mu dodjem zivotno delo..  8)



da, kapiram o cemu pricas Lurdusami. mozda bas kao posledica te izdvojenosti od kritike o kojoj i sam pricas, Lyncha su mnogi poceli uzimati zdravo za gotovo. po meni, Lost Highway je malo remek-delo. Mullholand Dr. takodje.

Quote from: "Milosh"
Ono sto je PRAVA vest je da se od pre desetak dana na DivX-u pojavio - Short Films of David Lynch (2002), nedavno izasao na DVD-u u Americi.
:!:

:!:   :D   :!:   :D   :!:


a evo jos jedan tip sa "cudnom frizurom", po Lurdusamijevom ukusu...  :?:

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.davidlynch.com%2Fimages%2Findex_top_big.gif&hash=a7c1fa960f3cc25f4f7933cfc1f7fc370edea9de)

'BTW Sandmane, na jednom drugom topicu si pomenuo kako ce Eraserhead uskoro na DivX, mala ispravka, Eraserhead je vec na DivX-u i to jos odavno (ima par meseci), a ja sam ga i preveo (iako, je tih stotinak linija teksta ponajmanje bitno u filmu, ali ajde...). Ono sto je PRAVA vest je da se od pre desetak dana na DivX-u pojavio - Short Films of David Lynch (2002), nedavno izasao na DVD-u u Americi. '

Miloshe, od tih podataka se i rodio ovaj topik, u priči na jednom drugom mestu (o THE BOXu).

I ja s nestrpljenjem čekam te kratke Lynchove filmove: reci deci, ako znaš – KOJI SU TAČNO FILMOVI na tom divixu? Da li su i stari i novi, ili samo stari ili samo ono što je (do sada) bilo samo na njegovom plati-pa-gledaj sajtu? :cry:

Ako bih morao da biram, više bih se nadao starim: pazite samo ove divne naslove:

1.   Amputee, The (1974
2.   Grandmother, The (1970)
3.   Alphabet, The (1968)
4.   Six Figures Getting Sick (1966)

Ma nek ide zivot / morao sam odmah da vidim sta ima u tom paketu,
ET VOILA:

SIX MEN GETTING SICK: A disturbing and intoxicating work, it is presented here in a four-minute loop, and the effect is unnerving. A siren's whine plays continuously as images of alimentary canals and upset stomachs fill the screen. We see bile bubble below. Suspense builds as the siren wails like a crippled banshee. The biological brew continues to toil and trouble. Finally, grue and nastiness are expelled from the mouths, the canvas filling with filth and human fluid. The vomiting is a release, a momentary escape, and the sense of tension being unwound. Yet, the soundtrack warning continues to whir, and the loop restarts, creating the expectation and apprehension all over again.

For a film made in 1966 to be projected over a sculpture, the print quality is very good (Lynch, when offering his personally supervised DVD packages for sale, said he would not release anything unless it met his exacting standards). While there is minimal use of color here, we mostly get Lynch's addiction to monochromatic settings. (Black and white = good and evil? love and hate?) The sound quality is what should be expected from a film of this age, and frankly, it adds an even more ominous tone to the proceedings, like the bittersweet accompaniment to an autopsy. It is easy to see why this staging wowed the critics and art sponsors. As a first experiment in animation, filmmaking, and presentation, this piece of performance art succeeds.

THE ALPHABET: This is the transitional film, a link between the art pretense of Six Men with the desire to form a linear narrative that would propel The Grandmother. Basically, this film can be viewed as an allegory for childhood and aging. For the girl in the film, the nursery rhyme rhythm of The Alphabet Song's first three notes ("A...B...C...") acts as an overture to the onset of maturity, puberty, and adulthood. As the children chant, the girl's face registers fear, confusion, disgust, and excitement -- all the emotions associated with coming of age. After some very sexually suggestive animation, our confused china doll, enveloped in the blackness of her bedroom, whispers the song in tenuous, uneasy fashion. As the final line "tell me what you think of me" slips from her tongue, she spews a torrent of blood from her lips, staining the ivory sheets and her clean white nightgown. The image is staggering and very symbolic. The sanguine baptism is a none too subtle indication of what development and womanhood is all about: pain and bleeding. These are themes that will play a huge part later on in Lynch's work.

As with Six Men, the picture here is startlingly crisp. The hiss present on the soundtrack acts like a subconscious serpent, tempting and propelling this unfinished Eve into releasing the innocence of childhood, and relishing the sloppy viciousness of adulthood. The recording captures the perfect aural tone, from the odd shrieks and childish mantra, to the delicate sigh of the girl's voice. This is a mature work from an artist barely in his twenties.

THE GRANDMOTHER: Lynch's first true film, a pseudo-linear story of parental abuse and family love that acts as a fitting introduction to all the major thematic material he would exploit in Eraserhead. Beginning again with animation, Lynch introduces us to Mother and Father, two immature beings not fully formed, but mutated in undeveloped and piggish ways. Animalistic in their expression of love, they conceive their son, The Boy, who they truly are not ready to care for. The only verbal connection The Boy has to Mother or Father is their brutish, beast like barking. The Boy wakes every morning to find a yellow stain on his bed sheets, and Father punishing him for it. Even in the quiet moments when Mother and Father are lost in their own primitive worlds, a touch or action by The Boy is met with violent shaking and hellish bleating.

The Boy chooses to grow a Grandmother, an indication of the type of complete, pandering, and unconditional love he seeks. Grandmother represents comfort, peace, and acceptance. Cinematically, the entire plant giving birth sequence is handled in a very visceral, gore-style manner (evidencing yet another Lynch comment on reproduction and the beginning of life) except here, black and brown, the colors of soil and dirt, substitute for blood and afterbirth. Lynch sees the family dynamic as filled with abuse and fear, pain and discomfort. Even the perfect Grandparent, toward the end, begins to make demands. There is no escape. The Boy must accept his fate, and face manhood. There is no peace. There is no true love. One could very easily see The Boy growing up to be the strange haired Henry Spencer of Eraserhead and this film is just as visually striking. Without dialogue, Lynch lets visual cues tell the story. He creates drama and unease, love and longing through gestures and sound. He manipulates everything: frame stops, images and even reality to illustrate his points, balancing explanation with excess. The disc's image is worthy of the material, with amazing sound. If there were one reason to own the disc it would be to see The Grandmother.

THE AMPUTEE -- 2 Versions: This is really a private joke between Lynch and AFI, The American Film Institute. He creates a tale concerning a female double amputee. She is so wrapped up in the writing of a letter/journal to her lover/self that she does not notice the horrendously gross things that are happening to her stumps as a male nurse attempts to treat them (the story is the same in both versions). One could argue that the monologue by the chair bound woman shows where the true amputation has occurred (in her love life and friendships). Or perhaps the amputation occurs between her physical condition (mangled, runny wounds) and her emotion condition (the feelings of humiliation and betrayal at the hands of associates). Or maybe it's just a sick joke, a Monty Python style vulgarity played more for queasy laughs than true insight.

The video quality of both versions is pretty poor. They are the worst looking items on the entire DVD (and the last sequence was filmed with a 100-year-old camera). Any impact Lynch hoped for is lost in the fuzzy transmission. The sound is fine, the voice-over monologue by Log Lady Catherine Coulson clear and concise. While completely in sync with Lynch's style and mindset, the purpose of this piece is baffling.

THE COWBOY AND THE FRENCHMAN: Fans of Lynch's off the wall humor, like the short-lived ABC sitcom On the Air will warm to this film. Lynch loves certain "comic" devices, and repeats them here. Slim is deaf (like Gordon Cole in Twin Peaks) and shouts all his lines in a manic, domineering style. The funny accent or voice (like director Valdja Gochktch, played by David Landers in On the Air) is represented, not only by the Frenchman, but also by the Native American character Broken Feather, who says very intelligent things in racially insensitive "heap big injun" manner. There is Jerry Lewis style slapstick (an obvious homage/reference?) and a Greek chorus of perky singers who sprinkle their cornpone country wisdom down over the proceedings like sugared raindrops. Still, for all the quaint goings on, an overall purpose or message is painfully absent, except maybe that Lynch has some escargot issues. There are a lot of snails in this short.

While light and airy, sadly, this is just not that funny. Lynch has never been able to truly sustain a comic tone, and some of the aforementioned devices that he employs for laughs end up falling flat. Perhaps the material is the problem. Making fun of the French is like shooting frogs in a barrel and Blazing Saddles set the standard for ridiculing the Old West. Without that kind of vulgar, manic zaniness, Lynch's passive pasture play fails to amuse. The transfer is very nice, if not a little over modulated at the beginning. There is a distinct blue screen style halo over all the actors that, eventually rights itself as the film plays on. The sound here is some of the best offered on the disc.

LUMIÈRE ET COMPAGNIE: PREMONITIONS FOLLOWING AN EVIL DEED: If there is any artistic justice in the world, David Lynch should be allowed to direct a film with a Lumière camera. His work and artistry here is that effective...that stylized...that classic. No other modern filmmaker understands the intoxicating magic, the hallucinatory mood, and the dramatic potential of grainy, hazy black and white. In only 52 seconds, he creates a compelling cinematic masterwork, a visual enigma that demands repeated viewings and intense dissection. Its impact is immediate, disturbing, and sensational. The images compress a novel's worth of information into four simple setups. It raises fascinating questions and offers sketchy, intriguing answers.

Again, the audio and video transfer is an artistic tour de force, capturing the look of the 1900s with the tone and talent of the new millennium. Everything ancient about the Lumière camera adds to the ephemeral wonder of this piece. A bizarre ambient industrial hum completes the experience. This is the very definition of a short (less than one minute) film (an entire universe visualized) and together with The Alphabet and The Grandmother, reason alone to seek out this DVD. Like the majority of Lynch's work, there is no easy explanation as to what is going on here, but the fun, the delight and the fulfillment is in the discovery.

It is easy to see in this collection why Lynch went from obscurity and midnight movie mania to winning awards at Cannes and helming Oscar nominated films. This is an artist with an imagination and verve unmatched by all but a few in his industry. Lynch investigates the waking and the sleeping universe, valuing them as two sides of the one coin called experience. Both are equally important and can occur within the same setting, scene, or moment. He employs sound to emphasize, even alert the audience to symbols, tone, mood, and plot. He celebrates the odd, the ugly, and the disgusting along side the sublime and the beautiful with identical care and attention. He exploits fears and caresses anxiety. He creates pieces for people to experience, not just to watch and listen to. He wants his audience, not only too envision, but emote: to feel, to enjoy, to be angry, and to be depressed. Viewing without sensation is not an option. Love him or hate him, he wants you to feel.

Thematically, Lynch lays the foundation here for all his future voyages, major and minor. Sex, death, vulgarity, birth, marriage, women, men, relationships, machinery, blood, body fluid, youth, adulthood, love, and hate all weave their way through his cinematic pallet. Even recent works like Mulholland Drive or Lost Highway can find their germination in these twisted short tone poems, what with their focus on duality, perception, and the hidden, harsh face of evil. Anyone wondering why John Merrick's London looks the way it does, or needs an understanding of BOB's motives in Twin Peaks can see these concise kinescopes as the testing ground for these designs. Offered here in digital form is The Big Book of David Lynch's Brainstorms, where subject matter was road tested, pressed, folded, spindled, and mutilated until it became the white faced Mystery Man, or Frank Booth, or Baron Harkonnen. As blueprints, tryouts and sketches they are extremely educational. As works unto themselves, they are mostly exceptional.

Na stranu sve, koji je smisao glasanja?
Premalo je ljudi, nikakav statisticki uzorak... da li neko popisuje kako su tekla glasanja, da li ce biti kakve opsezne analize jednog dana?

Elephant man je fenomenalan film i jedini Lynchov koji nesto vrijedi...Mulholland drive je nezasluzeno prerazvikan....i los!!!!

elephant man spada u sam vrh najgorih gluposti koje sam gledao.
mullholand drive je remek delo.
sva sreca da je i Lynch to na vreme shvatio.

Koliko vec sutra cu da odem do kluba i uzmem Short Films of David Lynch (pod uslovom da ga neko nije iznajmio), ili najkasnije do ponedeljka (ako bas ne budem imao srece), pa cemo da vidimo kakvih sve tu lepota ima. :lol:

ERASERHEAD!
Tako nešto bolesno u životu nisam video.
(ovde se sad nadovezuje Ghoulov potpis)

Quote from: "3opge"elephant man spada u sam vrh najgorih gluposti koje sam gledao.
mullholand drive je remek delo.
sva sreca da je i Lynch to na vreme shvatio.

potpisao bih ovu recenicu uz zamjenu mjesta dva navedena filma....toliko o razlicitosti u ukusima...

:evil: After Siskel and Ebert gave the film "two thumbs down", David Lynch had a new poster created showcasing the "thumbs down" quote and adding: "two more reasons to see Lost Highway."  :evil:

ERASERHEAD!!!!

Wild at heart.

Nakon teske borbe sa Blue velvet, Mullholand, Twin Peaks i slonom

Samo samo nas dvojca glasali za Wild. Kod mene je pravagnuo zbog nekih emotivnih uspomena koje idu uz njega :oops:

BLUE VELVET it is.

U foto-finišu, za jedno uvo ispred ELEPHANTA I ERASERHEADA, i za 2 uveta ispred LOST HIGHWAYA, i MULHOLLAND DR. 8)

definitivno, definitivno :

1. BV
2. MD

pa ko moze da zaboravi r.del rio capellu spanske verzije 'crying', ta scena je legendarna.
ili 'in dream', onaj lip synch u 'bvelvet-u'...lynch and roy O...koja kombinacija!

ne znam da li je i u 'tp' koristio ro?
jedan od retkih rezisera koji nije izgubio tu 'izgubljenu' vezu sa realnoscu, ima je jos u tragovima kod jarmush-a, ali lynch je pure fantazmagorija.


sandman-e, javila sam ti se.
eto...uspeo si u jednom, pored drugog, registrovala sam se!


spajderu, que pasa? spreman li si na jedan rigorozan drilling, jedno verbalno 'samaranje' i class.muz. kviz, znam da ti je to jaca strana a i ekspertiza boga mi.

i jos nesto...postavljacu topika.

pa dobro , bre, sandman-e...osim stereotipa 'koji vam je film najbolji', zar nisi mogao da diskusiji dodas ozbiljnost i bar u hintovima spomenuo

a/ wim wenderov paris, texas i lynchov lost h???

b/ pa da si malo otisao dublje i ezotericnije lynch and w.herzog...jarmush.

kada ce diskusija da postane diskusija a ne listin i top five?
pa nisi kejsi kesam sandmane, nisi radio jockey pa da slusam top 40 americke pop muzike.


ajde ulise, ako sado-mazohisticki voajerski citas prikljuci se debati/?!/, a i herr, on bar voli jarmush-a.

mislim...lynch mora da se dozivljava kroz refleksije navedenih rezisera jer su slicnog senzibiliteta, mora da postoji overlappingovanje i juxstapositons/otkad nisam ovo upotrebila/ kada se prica o umetnosti.


ili sam pogresila forum?
opet.

hola amiga! lepo te je ponovo citati...

mogli smo svi ovde pocrkati od SARS-a, a ti nam ne bi uputila ni veselu cestitku iz Pariza... how typical of you!  :P  

nego, what is this thing with overlapovanjem sa wandersom i jarmucshem? jer to neki znak da se PoMo ponovo vraca u velikom stilu? secam se nekih tvojih ranijih rantova koji su mi delovali gotovo apokalipticno, o new waveu u umetnosti, nekom novom ludackom ekpresionizmu, nekim za mene neshvatljivim iskrenostima. jel to umrlo vec pa je good old PoMo? please explain, ne drzi me u neizvesnosti vise...


sto se tice ozbljijnije rasprave o Lynchu mislim da je to moguce ovde jedino ukoliko se ghoul konacno odluci da ne glumi vise sissy i pocne pricati o svojim favoritima. jesi odgledao te filmove konacno covece?

Ako postoji autor čije je filmove prilično besmisleno analizirati, tumačiti i racionalizovati, to je Lynch.

Najviše su me, oduvek, nervirali oni koji sa njegovih filmova izlaze sa komentarima tipa: 'Šta je bre ovo? Kako ono? Zašto... Kako je moguće... Šta ZNAČI ono...?'

To bre nije da se tumači i 'raspravlja' nego da se doživljava. Mislim da je Dali rekao (istina, na španskom): I AM A DRUG. TAKE ME.
Slično može da kaže i Lynch - on se ne obraća razumu već podsvesti, i zato mu se treba otvoriti, prepustiti, kao nekoj dobroj drogi... ili snu...
Razum... Analiza... samo su smetnje, i u krajnjoj instanci jalova oruđa pred svetovima koji ih prevazilaze.

Pročitao sam knjigu razgovora s njim, LYNCH ON LYNCH, kao i desetine 'intervjua' s njim na netu, i nisam mnogo pametniji po pitanju šta mu znači ovo ili ono, šta je 'hteo da kaže' ovom ili onom scenom... Čovek, prosto, ne voli da analizira svoje filmove niti da filozofira na teme i ideje (if any) u svom radu - za razliku od, recimo, Cronenberga koji je i visceralan i intelektualan, Lynch je 'samo' visceralan.

I ja to poštujem.

Zato, umesto dalje filozofije na ovu temu, postujem završne redove mog prikaza MULHOLLAND DR. za jedan list:

''Svako od nas svake noći u svom životu sanja i po nekoliko snova. Tek deo toga bude upamćen. U čitavom životu, na duže staze tek pet-šest snova nam se neizbrisivo ureže u pamćenje. BULEVAR ZVEZDA je poput jednog od tih nezaboravnih snova. Već od ingeniozne najavne špice, u kojoj su sublimirani i tema i ideja i stil filma kojem prethodi, sve je tu: Linčova opsesija plesom i muzikom (nikad bolji saundtrek u, po tome i inače čuvenom, opusu), udvajanje glavnog lika, pretapanje, dominacija silueta i senki iz jarke, živo obojene površine, delirična intruzija sve zlokobnijih i mračnijih sadržaja... Ako baš ne možete drugačije, i insistirate da detekciju sprovedete do kraja, nakon drugog ili trećeg gledanja/sanjanja možda ćete zapaziti da film uopšte nije tako anti-logičan kako se možda čini, i da se nazire privid smisla iza čudnih zbitija. Besmrtnim Hamletovim rečima: ''Though 't be madness, there's still system in it.'' Bilo kako bilo, lepota ove zagonetke ne zavisi od rešenja, ili ono bar za nju nije neophodno. Prepustite se snovima Dejvida Linča: oni predstavljaju obogaćenje duhovnog života svakog pravog filmofila i sanjara.
   Ako ne spadate u iste, gledajte filmove Rona Hauarda, ili bilo kog skorašnjeg Oskarovca. Tamo je sve jasno.''

tek sada primetih koliko sam krucijelnih slova izpustila kucajuci, kada pisem u 'wee hours of the morning'...


tacno ghoul, objasnjavati i desifrovati lyncha je neverending story jer on bas ostavlja prostora za individiualno dozivljavanje, sto je inace karakteristika postmodernistickih filmova ciji je on sa wendersom, jarmuschom, tarantinom, watersom, burtonom,hayne-om...predstavnik.

medjutim, lynch se objasnjava kroz refleksije jer je jedino tako moguce.
kroz scene i fragmente.

sandman-e...


lyncha vise volim da uporedjujem sa wendersom, na jarmuscha je imao ogroman uticaj, pa pogledaj atmosferu i surrealism i expressionism u svim njihovim filmovima, 'obsesses over identity', bizzarnost, ali u sustini duboko romanticni filmovi u onom pravu smislu reci.


lynch je excentric, nije 'hipster' kao recimo john waters i tim burton koji mi se strasno svidjaju zbog svezine koju prezentiraju u svojim malim, kultnim filmovima, vec excentric mentalnog tipa, u razmisljanju ne u zivotnom stilu.

nema efemernosti i prozaicnih emocija u lynchovim filmovima, zato je vise 'darling' kriticarima nego publici.

npr...wenders i ry cooder, jarmusch i tom waits, lynch i roy orbison...cini mi se da je retko ko iskoristio muziku na tako ekspresivan nacin. seti se samo bez-razloga-nipodastavanog 'paris, texas' koji je po meni fenomenalan film.

wenders cak koristi pullmana , inace lynchovog glumca u 'the end of violence', koristi tom waits-ovu , cini mi se ' a little drop of sorrow' fenomenalnu pesmu u odsutnom trenutku, kao i lynch roy orbisona kao i jarmusch t.waits-a u krucijalnim momentima, ne kao background...vec kao aktivan ucesnik, glumac.

sto se tice izrazenog entity-ja moj sandman-e, prevarila sam se u svojoj jakoj zelji da se otresem konacno PoMo jer poceo da 'sluzi sirokim narodnim masama' i izgubio svezinu zbog komercijalizacije...

svi ti napori mladih umetnika su ustvari tezak jedan 'copycat', ali tezak uvijen u neku alternativu i indie koja veze sa mozgom nema.

pa pogledaj samo bostonsku i newyork-sku muz scenu...nema ni I od identiteta, to su tako neke mutantne grupe, tako jeftini neki newageish stil / znam...prodavacice sa probusenim nosevima i jezicima u HMV bi me ispljuvale/ ali takav je moj utisak.


sa knjizevnoscu je, cini mi se druga prica...iskrenost kod pisca jos uvek postoji i to se racuna i nikad ne umire...

znas sta sam u dahu procitala, cuj 'procitala'...eric drooker-a...'blood song' i 'flood'...bez reci graphic nove, pa znas sta...ne znas.
poezija, kao kada si prvi put procitao 'malog princa'. ili 'alisu u zemlji cuda'.

medjutim, medjutim, citam jimmy corrigan-a i cudim se, dokle masta i kreativnost i inteligencija mogu da idu.
bez kraja.

kupila i dobila jos nekoliko dragulja.

koji ron howard?

onaj sto je snimio biopic ' a beautiful mind'?

pa znas sta...nisi u pravu, sada vec zvucis kao spajder, ne mozes tek tako da pljujes jer boze moj to nije dovoljno hermeticno, po svakom oskaru, po svakoj nobelovoj nagradi, da bi bio drugaciji.

to dobar kriticar filmski ne radi, pogotovu ako uporedjuje nekoga a da njegov filmski opus ne zna.

ako je taj howard, on je snimio slatke filmove, izmedju ostalih i cacoon i splash, apollo 13, pa i willow...mislim, nerviraju me ta pointless pljuvanja tek zbog neke komicne reference , to bi ti svaki iole malo potkovaniji filmofil zamerio i citao tvoje kritike kao nezbiljno stivo i prestao sa citanjem.

ajde da ne budem 'longwinded' u izlaganju, gde mogu da se citaju te vase filmske kritike, bas me interesuje sta pisete?

i da, lynch, i ti si to primetio, cini mi se, ima logicnu consistentnost, pod uslovom da imas strpljenja da sklopis te fragmente njegovog snovidjenja, i u tome je njegov kvintesencijalni kvalitet, rekla bih.

mada je imao i nedopustive padove, ali...i to je neki manje-vise normalan put.

gde je spajder sa svojom insomnijackom energijom , on je tek - tek...
ghoule, setila sam se tebe pre nekog vremena, videla sam kod mnogih 'hipstera' koji drze do svog ezotericnog renomea 'suspiri'-u...uuuuu...ako nemas 'suspiria'- na polici i tako jos neke nepoznate japance, ali sto obscurnije to bolje nisi nikakav hipster.

ja jos to nisam videla, moracu da ga narucim preko interneta.
da keeping up sa johnes....

opet sam ispustila slova, ne mogu da editujem...naslucuje se sta sam htela da kazem.

E, pa, sneki, dobro nam dosla i lepo nam se vratila!

Moram priznati da sam u tvom odsustvu pomislio kako je zivot ipak jednostavan, i kako je umetnost u stvari besmislena (o.wilde), a onda se vratis ti i podsetis me do kojih bizzarnosti ljudski um moze ici.

Lepo je i videti da neke velicine imaju consistentnost u stavovima.

A sada moram da idem da legnem jer mi se vrti u glavi, a i slepoocnice pocinju da mi blago pulsiraju...

Pozdrav za sneki!

Ne znam, Sneki, zašto na sve strane vidiš 'pljuvanje'. :o

To što sam rekao o Hauardu se ni pod razno ne može tako nazvati.

Kazao sam da je u njegovim filmovima sve jasno (tj. da ne predstavljaju nikakav intelektualni, emotivni itd. izazov za gledaoca) i to tvrdim i dalje. To što je snimio neke 'slatke' filmove niti sam negirao, niti sada činim, ali ne vidim kako opovrgava moje 'pljuvanje'.

Njega nisam pomenuo radi komične reference i sitnog vica, niti da bih zvučao kao Spajder or whatever (mislim da njega nisam ni poznavao kad sam ono pisao) – već zbog nečega o čemu sam govorio na početku te kritike:

'' Nominacija Oskar za najboljeg režisera najbliže je što je Linč u ultra-konzervativnoj Americi danas mogao da priđe zvaničnom priznanju. Oskara je, naravno, dobio bezlični odradek Ron Hauard.''

(PS- odradek je termin iz jedne priče Franca Kafke)

Moje kritike se mogu čitati u oba postojeća žanrovska časopisa, i u još nekim koje ne bih besplatno reklamirao. 8)

SUSPIRIA može da bude ezoterija samo za najteže snobove – inače je opštepoznat naslov svakome ko se imalo razume u film.

Ezoterija su, recimo, ALL NIGHT LONG filmovi, i tako to (čak i Miike je verovatno provaljen kod tih tvojih drugara, barem AUDITION).

znas kako ghoul-e...


rh se izborio za svoje mesto pod hollywoodskim sunce, odavno, i kao glumac i kao reziser.

ti, kao kriticar nikako ne mozes i ne smes da imas krajnje izjave ovaj reziser mi se svidja ovaj mi se ne svidja, to vec nije kritika, kategorizacija na dobre i lose glumce-rezisere je vise nego smesna pogotovu sto kada govoris o nekome govoris o njegovom celokupnom opusu i dajes mu kredita i za prethodni rad.

on je solidan glumac i solidan reziser i vrlo postovan u filmskih krugovima.
da li on odgovara tvom nekom senzibilitetu i ukusu, to je nevazno za kritiku, tvoja kritika treba da bude maksimalno objektivna i neutralna, naravno svaka kritika je subjektivna, ali profesionalni kriticar treba da je kao profesionalni novinar, prilicno objektivan...a za svoje ljubimce, napisi knjigu, napisi eseje o njihovom stvaralackom opusu, nikako da bojis kritiku nekim svojim vidjenje jer je krajnje neozbiljno i povrsno.


film se ne cereci i masakrira kao sto to mi radimo na diskusijama, to je verbalna masturbacija koja moze da deluje simpaticno dva-tri puta, posle se covek ponavlja, vec se u lejerima obradjuje.

film nije samo reziser i glumci, vec i citava masinerija...znas oni credits na kraju filma koji traju deset minuta...biti filmski kriticar zahteva ogromno znanje, obrazovanje i iskustvo i vrlo jedan open minded percepciju ... ne znam da li se ti secas djukelica, ja sam imala srecu da nesu znam licno i gledali smo zajeno , nekako pre njegove smrti, dva filmska festivala u torontu i jedan kanu...ti nemas pojma koliko je on vremena ulagao u proucavanje, istrazivanje i sakupljanje informacija o svakom glumcu, reziseru, sed design-eru, piscu muzike, piscu ako je delo ekranizovano...pripreme za intervjue sa glumcima su bile kao doktorske teze.

ovo ti pricam jer sam mu nekoliko puta pomagala u prikupljanju podataka.
i on sebe nikada nije smatrao nekim kriticarem jer je znao da treba jos puno da uci.

nemoj pogresno da me shvatis, ovo nije bilo preaching, vise osvrt na predjasnje.


inace...'suspiria' nije snobizam, snob i hipster su nesto razlicito, ovo je vise vracanje nekim recimo obskurnim vrednostima kao otpor mass produkciji, kao revolt prema sadasnjoj situaciji , prema komercijalizaciji i uniformisanosti...

moja opaska je bila vise onako sarkasticna...

*mentalna zabeleska*:

nikako. ne. oterati. zenu.  sa. diskusije. ponovo. ne. ne. jos. izdrzati. izdrzati. jos. malo. jos. samo. malo. lynch. njegova. veza. sa. realnoscu. jednako. je. lynchova. fantazmagorija. aaaaaaaaa!. ne. ne. ne. denial. denial. denial. otpor. mass. produkciji. i. velicanje. rona. howarda. "slatki". filmovi. ne. ne. ne. sto. sklekova. dnevno. izlaziti. naci. nesto. jebati. samo. ne. ne. nikako. ne. citati. ne. citati. ovo. john. waters. jednako. "hipster". o. boze. o. dragi. boze. ima. li. te. ?. bill. pullman. je. lynchov. glumac. jeste. jeste. (jack. nance. je. onda. verovatno. paskaljevicev. sneki. "knows. jack."). o. boze. zeno. end. of. violence. izasao. je. iste. godine. kad. i. lost. highway. kakve. veze. imaju. ne. ne. bolje. da. i. ne. pitam. o. boze. ne. sintagma:. "iole. malo." pa. neeeeeee. to. je. nemoguce. oh!. "potkovaniji". oh!. zenama. su. utukivali. potkovice. na. stopala. u. srednjem. veku. i. sad. se. vidi. da. je. ta. praksa. bila. dobra. jer. pa. ne. ne. ne. ovo. je. o. ne. ne. ne. usporedbe. a. tek. usporedbe. jarmusch. wenders. (ne-.-legitiman. autor. duze. od. decenije. ali. ocito. ne. za. sneki.). i. tarantino. sad. je. i. waters. postmodernista. a. ujedno. i. hipster. ali. neeeeee. lynch. je. ekscentrik. u. "razmisljanju". ali. zamislite. ne. i. u. "zivotnom. stilu". oooo. a. da. i. hercog. je. totalno. lynch. verovatno. je. po. sneki. krao. od njega. jeste. i. de. palma. je. tako. krao. boby. de. nira. koji. je. u. stvari. verovatno. mannov. glumac. pa. ne. ne. ne. ovo. je. pakao. ovo. je. potpuni. pakao. haos. preuzima. kontrolu. haos. haos. haos. o. zeno. haosa. u tvojoj. glavi. pa. ne. ne. ne. ovo. je. genocid. cist. nepatvoren. metafizicki. genocid. ja. ovako. vise. ne. mogu. zbogom. svima. zbogom. zauvek. vidimo. se. u. nekom. lepsem. svetu. koji. ima. nekakav. poredak. neki. lepsi. svet. u. kome. je. ron. hauard. zapravo. genije. i. autor. a. ne. samo. kalkulantski. H.A.C.K. i. gde pticice. pevaju. arije. iz. mocartovih. vodvilja. zbogom. stare. pilule. u. dovoljnoj. kolicini. resice. stvar. nadam. se. zbogom.

Quote from: "Spider Jerusalem.  gde pticice[/quote

tacka. :lol: .

Quote from: "Freja"

Quote from: "Spider Jerusalem"gde pticice

tacka. :lol: .

After Sneki's piece of advice, I woke up 'a sadder and a wiser man'...

'artija trpi sve a internet čak štaviše i nogekako.

enivej, što reko Jor, živela demokratija i pravo svakoga da ima svoje mišljenje.  :x

uostalom, sve je relativno - prostor, vreme, univerzum, čovek, umetnost, filmska kritika, pa što ne bi i opus Rona Hauarda, poštovanog među kolegama, a usto i uspešnog režisera i glumca...

yeah, like, whatever.

jedino mi malo žao sirotog Đukelića koji se sad okreće u grobu...

zao mi je momci, vi ste tezi slucajevi, nije samo arogantna mladost i totalno neznanje u pitanju.

u pitanju je cista glupost  koja vam i daje tu slobodu da se u svom okruzenju istomisljenika izivljavate sa neukusnim , besmislenim laprdanjem koje zovete 'kritika' / ogradjujem se/ zakljucujem po onome sto ste ovde postirali besomucno i uporno.
ako je to bila kao neka stilska vezba, na tome mora mnogo, mnogo da se radi, moj dobronamerni savet : give up ! baviti se fiomskom kritikom je kompleksan posao, baviti se onim sto vi nazivate 'kritikom' za to nije potrebno odgledati ni pola filma.


no hard feelings momci, neko mora da vam ukaze na razliku wannabe-ja i stvarnog kriticara, pa bili to radni  uslovi i okolnosti u srbiji.


jedino se duboko nadam da 'magazini' u kojima pisete su u tirazu od 50 komada mesecno.



a djukelic, nekako mi dodje kao 'insult' da ga ti uopste i spomenes u nekom kontekstu, jer je spomenut kao primer skromnog i obrazovanog i talentovanog kriticara.
znas...ipak...jebi ga...imaj malo postovanja i razumevanja.

Quote from: "Spider Jerusalem"u tvojoj.

fali tackica

ghoul je na pocetku, kroz uzdrzavanje da uopste pise na ovom topicu dao mozda najiskreniji sud o lynchovom delu. njegov rad suvise bolno spanuje nase sopstvene fantazme, kolektivno nesvesno, arhetipe (one vidljive poput doppelganger zenskih likova, divove, patuljke kao i one za nas potpuno neuhvatljive) da bi se o tome bez bola dalo pisati. ali s druge stane, kad vec par ljudi skupi hrabrost za tako nesto (i bez obzira na jake kulturoloske razlike i drugaciji span interesovanja) u atmosferi koja odise hvale vrednim stepenom toleranicije cini mi se da u najmanju ruku treba imati bar sadisticki impus pa ruinrati to jalovim oportunsticko-kalkulantskim izdrkavanjima. ako vec nemamo hrabrosti da sami pricamo o lynchu onda bi mogli bar da cutimo, zar ne? a ne iz te neke zasticene perspektive dzangrizavog starca koji sam nema hrabrosti da izlozi svoj sud, kroz kenoovske stilisticke imitate zavrsavanja recenice posle svake izgovorene reci pokazivati koliko smo kurabecni da ruiniramo ako vec ne umemo da mastamo i gradimo... jeftino zaista i svojim dometima puca da impresionira samo one najpovrsnije i sustinski nezainteresovane...

bez obzira sto licno ne dozivljam sve snekine transpozicije (jer su izvan sveta moje identifikacije) svidja mi se kao je lyncha definisala kao autora 'izgubljene' veze sa realnoscu, jer cini mi se da je upravo u tome poenta lyncha (ako ne i kreativnog stvaralasta uopste) jer lynch nije linerno i objasnjivo, ne podleze jednom tumacenju i jednom utisku vec citavom amalgamu tih utisaka...

a ako ne koristimo ovaj forum i njegove mogucnosti interakcije sa ljudima razlicitog pogleda na svet od naseg vec podlezemo povrsnosti rekacija nasih nabildovanih superegoa kako cemo ikad dokuciti tu bozansku visedimenzionalnu aromu davida lyncha?


tuzno...

Quote from: "SANdMAN"tu bozansku visedimenzionalnu aromu davida lyncha?

Holy Cow, dude! You need to get out more.  :wink:

Mislim, slažem se sa ostatkom teksta, ali... božansku? C'mon...  :?  :)

he, mislim da me nisi razumeo... bozanski ne u smislu da je lynch neko kome se do imbecilnosti klanjam (mada jeste) vec da everyting gods created je samo po sebi viseslojno i nedokucivo (sto bi reko james van der beek na kraju "the rules of attraction": niko nikada nikog zaista ne upozna. heck, even that skinny bitch shannyn sussamon said that earlier!) dok od ljudskih kreacija samo istinski masterpieces poseduju takvu slojevitost...


tako...  8)

Interesantna analiza/tumacenje filma Mulholland Dr. (copy/paste sa IMDB foruma):




The events that take place in the last quarter of the film, starting with the opening of the blue box, actually happened. Here they are:

The first couple minutes of the film are neither dreams nor reality. I guess you could call them foreshadowed images from Diane's past and future. We see jitterbug dancers and an old couple with a young woman. We later learn that Diane was a jitterbug dancer and apparently she won a contest, got a taste of fame and chose to fly out to LA for a chance at an acting career.

Diane is now a struggling actress in love with Camilla (a fellow actress in a movie she had a very small role in,) but Camilla left her for Adam, the director, in search of stardom and success. Diane, still in love, became extremely jealous of Adam and thought up the old "if-i-can't-have-her-no-one-will" bit. So Diane hired a hit man to have Camilla killed. The hit man then hired the limo drivers to drive off to the side of the road and shoot Camilla. We saw parts of this scene, but we never actually see Camilla shot, although she is shot, and she does die.

After having Camilla killed, the guilt eats away at Diane and drives her insane and she ends up killing herself. As Diane dies on her bed, we see through her eyes as her face comes down on the pillow and her life flashes before her eyes. Not the life she lived but the life she wished she had lived. This dream she has is the first three quarters of the film.

Now as for the dream:

In the dream, Diane is called Betty. Why? Because she imagines herself as a different person. In the dream, Betty sees a waitress named Diane, who is a reflection of herself. She sees Diane (herself) as a poor waitress in a shitty little restaurant.

Diane's dream starts out as such: the hit on Camilla is interrupted by a group of drunken kids smashing into the back of the limo. The limo drivers are knocked out and Camilla gets a concussion and loses her memory. She wanders down into town; finds Betty, and Diane's dream life (literally) begins. In the dream, Camilla is dependant on Betty to help her solve a mystery (which is exactly the opposite as it was in reality. Diane was the dependant one.) they are inseparable and end up falling in love. Also, Betty is an amazing actress and gets auditions for big roles in major movies. Her aunt is a famous casting director and is off in Canada shooting a movie.

This pretty much takes care of Diane's perfect dream. However, there is much more that happens in the dream that Diane doesn't intend. There are several very odd characters such as Mr. Roque, back of head man, the old couple, the cowboy and the homeless man. (My interpretations of these characters are at the bottom of the page.)

in Diane's dream, the hit man gives her the blue key but doesn't answer her question about what it unlocks; in fact he laughs at her (he knows what will happen if she follows through with the hit). When she finds the blue box and opens it, what is released is guilt, and from that point on, Diane's dream turns into a nightmare. Why are the key and box blue? When Diane switched apartments, the previous owner gave her the key and it was blue. This, along with a few other small things (seeing the cowboy at Adam's party, for example), stick in Diane's mind and is carried over into her dream.

Lastly, in Diane's dream, she and Camilla visit Club Silencio. This is the last main scene of her dream and is by far the most important. At Club Silencio, everything is Fake. The two women watch singers without voices and musical instruments without sound. The man keeps repeating things about how nothing is real and it is all an illusion. The purpose of this is to give Diane/Betty a reality check; to wake up out of the dream and stop pretending that the murder didn't happen. Right as the man is saying these things, the blue box is found.

Interpretations of characters:

Mr. Roque - Storyteller. He is at the center of everything happening in the dream. He makes sure everything is going as planned.

Castigliane Brothers - Certainty. The two also work for Mr. Roque, the storyteller, and see to it that everything he needs to have done gets done no matter what. They also "overthrow" Adam and take over his film. They cast a different girl for the part so that Camilla never meets Adam. We see evidence of this when one of the brothers spits out the "finest espresso in the world." Near perfection isn't good enough for them. Everything has to be exact.

The Cowboy - Destiny. He's a messenger/go'fer and even a hired goon for Mr. Roque. He gives Adam one last chance to cast the girl for his film.

The Homeless Man - Fear. Fear literally killed the man talking to his psychiatrist in Winkie's. The homeless man gave the hit man the blue box to give to Diane. In other words, fear was delivered to Diane by the hit man, and along with that fear came inherent guilt.

The Old Couple - Guilt. The two sat with Diane on the plane when she came to LA. They are a reminder of innocence, even though they are extremely sinister in the dream. But then again, how else would Diane see them? At the end of the dream, they drive her in to the bedroom and she kills herself.

Glasao sam za "Straight story", zaista savrsen film po mom ukusu, koji oplemenjuje (volim takve filmove). Jednostavan, iskren, dubok, ni najmanje cudan, alternativan i hiperurban, prosto odlican film, za mene klasik.

       Linca inace ne volim previse (ma koliko da je to skandalozno).  Nekako je isuvise cudan i bizaran za moj ukus. "Lost highway" nisam uopste ukapirao, odustao od gledanja nakon pola sata. "Eraserhead" odgledao do kraja, ali jedva (a i to zbog Pixies, a ne zbog njega). "Dune", meni licno izuzetno losa ekranizacija jedne odlicne knjige (imam internu provalu u drustvu kad se u filmu kao grom iz vedra neba uz fanfare kaze "On je Kvizac Haderah" koju niko, ko nije citao Dine, ne moze da ukapira). "The Elepehant Man" izuzetno dobar i korektan film, ali ubija me ona tipicna 'Linc' atmosfera. Isto vrijedi i za potencijalno odlicne "Divlji u srcu" i "Plavi somot". Ova zadnji nisam gledao (mada planiram). Pozdrav.

Najiskrenije ne mogu da se nacudim da vam se vecini toliko dopadaju filmovi Dejvida Linca. Covek konstantno prodaje muda za bubrege. Ako samo pogledate Glavu za brisanje, zasto bi neko trosio filmsku traku da u real time-u snimi voznju liftom jedne izrazito ruzne osobe sa odvratnom frizurom. Zar svi ne placamo bioskopske karte da bismo stvari videli u elipsama, dakle, najzanimljivije odabrane trenutke, a ne da nas neki mazohisti muce takvim kadrovima, pri tom bez svrhe. Mislim da bi bilo sasvim u redu da se Linc ne gura u popularnu kulturu i sve vreme pretenduje na mejn strim reditelja, vec da se njegovi filmovi prikazuju po nekim art bioskopima za grupe zaludjenika koji su recimo u beogradskoj kinoteci gledali satima kako covek spava u jednom Vorholovom filmu. A, ovako, Linc cerupa po malo i horor prica i kao namami te da gledas nesto sto vodi necemu, a onda ti na glavu saspe gomilu nekih nebuloznih simbola i jos se po novinama slika kao sa cudnim frizurama. Najiskrenije, moguce da ja nisam za takve filmove, ali mislim da je po sredi najjeftinija vrsta umetnicarenja i da Linc ni sam ne zna cime se bavi, a to nije ni malo posteno, posebno kad je rec o zanru horora u koji se on stlno petlja, tako da fanovi ovog zanra, sto sama nisam bas sasvim, posebno treba da ga mrze i svuda o njemu lose govore. :?:

ih, bre, otaku, bas si me razocarala.
to sto ne moze bas lako da se drka uz njeove filmove [jer, taman kad te necim napali, on ti uvali neku groznu scenu koja te totalno oladi] ne znaci da lynch ne zna sta radi.

da nije za svakoga= nije.

da rulja ostaje zbunjena= ostaje.

...no, ne bih novu godinu pocinjao raspravom, niti dubokoumnim elaboracijama lynchovih kvaliteta [mnogi od kojih su ionako vec pominjani i ilustrovani na ovom istom topiku], samo mogu da ostanem u cudu pred tim sto si napisao/la/lo.

lynch je zaduzio horor kao malo koji reziser u istoriji zanra, a cinjenica da je to uradio sa samo 1 kolko-tolko cistim zanrovskim filmom [era] i jos 3-4 na granici [eleph, twin, lost, mullh] je tim vece dostignuce.

Nije tacno da uz Lincove filmove ne moze da se drka, eto, na primer, uz Straigh Story, uvek se napalim kad se setim dekice koji se klacka na kosilici trave, to je toliko nadrealisticno da covek ne moze da ne odreaguje.
Ne znam cime je Linc doprineo zanru horora ali svakako cu detaljno pretresti ovaj topic pa se onda upustiti u napad, za sad mogu samo da kazem da je on bez potrebe podebljao i zakomplikovao odrednice ovog zanra da bi isao mimo sveta i sa time uopste ne mogu da saosecam.
Slazem se da njegovi filmovi nisu za sve ljude, posebno nije za one kojima uvek jezik radi brze od pameti, pa priznaju da se covek zesce prosrao, pre nego sto se zamisle da nije mozda po sredi ipak neki znacajan doprinos sveopstem razmisljanju o smislu zivota. Ali, tad je vec kasno, jer su ispali kreteni, a mogli su dobro da se plasiraju kao cudaci. :x

otaku, pa ne moras sad od jedne heavy cool tinedzerke opsednute video rent boysima i muskom masturbacijom u bioskopu odjednom da natrpas viklere u kosu i navuces isflekanu kucnu haljinu na cvetove kao prosecna lynch hating srpska domacica, sve da bi nam dokazala da si ipak zensko!

pusti sumnjicavce. ti si nas rosni cvet orjenta, verujemo mi tebi i ovako...

za esencijalno razumevanje Lyncha - romantizovana studija halucinogenih droga, imaginarnih prijatelja i gayish masturbacije ispod miske Cronenberga, jednog od najvecih surovih dokumentarista ikad - Naked Lynch!

prosecna lynch hating srpska domacica:lol:

Znam da mi ne verujete, ali Linca ne mrzim iz nekih malogradjanskih razloga, vec iz cisto zdravorazumskih. Kao dokaz> priznajem, iako nerado, da nisam sasvim frigidna na njegove filmove i da su, nazalost, neki od kljucnih trenutaka u mom istrazivanju nadolazecih mi sekundarnih polnih odlika bili zdusno podrzani Lincovom tvorevinom, agentom Kuperom, bese, iz jednog od manje losih Lincovih ostvarenja. Uz to sam mu beskrajno zahvalna sto mi je priveo  Krisa Ajzaka koji takodje nije bez zasluga za moje najbolje dozivljaje. Ipak, ne mogu da obecam da cu se esencijalno upoznavati sa Lincom, mada naziv Naked Lynch, nije neinteresantan.  :twisted:

Quote from: "Boban"Na stranu sve, koji je smisao glasanja?
Premalo je ljudi, nikakav statisticki uzorak... da li neko popisuje kako su tekla glasanja, da li ce biti kakve opsezne analize jednog dana?

DA.

na sudnji dan.

LINCH DAVID LYNCH! i lincuru takodje...

glasao sam za lost hajvej iako mi se vise svidja divlji u hercu. ach, zum teufell!

Yeah! Baby! Yeah!

Why David Lynch Turned Down 'Return of the Jedi' (http://www.youtube.com/watch?v=qDB8Q15iUIE#normal)

Da metnem i ovdje!
The self-directed video for Crazy Clown Time, the new single from the multi-talented director and songwriter David Lynch. :-|

David Lynch - "Crazy Clown Time" (Official Video) (http://www.youtube.com/watch?v=6QJpY2VNP0E#ws)

Meni je spot genijalan, ali ja obožavam i Dumbland (http://www.youtube.com/watch?v=x8mwRrnPR3g#ws).  :lol:

 S obzirom na to da dugo nije bila prisutna na estradnoj sceni Srbije, pevačica planira da ponovo osvoji publiku povratničkim singlom "Hotel za izgubljene duše".

Portal "Opera 17" objavio je tekst nove pesme Tanje Savić, koji će, ako je suditi po emociji koju nosi postati pravi hit.
 
HOTEL ZA IZGUBLJENE DUŠE
Noć, sama na trotoaru,
auto i srce (http://www.popboxads.com/server/campain.php?utm_source=popbox&utm_medium=cpc&utm_campaign=popbox&idR=30919&oglId=1943&mId=350&burl=pulsonline.rs&t=1352836210&sc=af61c8fb3269b3a54f7d2a4904992a41&dl=1) u kvaru,
signal za pomoć
šaljem u ponoć,
a ti..daleko ostani.
Podižem prst,
u strahu nosim svoj krst,
ranjena duša mi luta
kraj autoputa,
stranac u noći staje,
sa njim cu poći dalje,
i kažem mu:
Hajde vozi me da ne vidim ljude,
gde primaju od ljubavi lude,
vozi me dok snovi se ruše,
pravo u hotel za izgubljene duše...
vozi me...
Noć, rukama sakrivam lice,
gde li su te ranjene ptice,
što noću lete same da nađu sebi
rame za plakanje...


http://www.pulsonline.rs/puls-poznatih/18181/tanja-savic-zeli-u-hotel-za-izgubljene-duse (http://www.pulsonline.rs/puls-poznatih/18181/tanja-savic-zeli-u-hotel-za-izgubljene-duse)

Nego, šta je sa ovim čovekom, jel on odustao od režiranja dugometražnih igranih filmova? Ili ga zanimaju samo kratki filmići, spotovi, režiranje koncerata i snimanja muzičkih albuma?

The Elephant Man je najsavršeniji Linčov film. Blue Velvet je takođe filmski klasik.

Lost Highway je jedan od meni omiljenih, ne zbog smisla, nego neprevaziđene atmosfere.

Dune volim iz više razloga, od kojih je jedan i Linčova režija.

Ostalo mi je bar OK, a Eraserhead nisam gledao.

A najzabavnija stvar u koju je Linč bio umešan bila je TV serija Twin Peaks - pop-kulturni znak vremena u kome je nastala.

po netu se širi rečenica

''Next Tuesday, the wait is finally over.''

http://matthewatthemovies.files.wordpress.com/2012/04/twin-peaks_m_jpg_627x325_crop_upscale_q85.jpg (http://matthewatthemovies.files.wordpress.com/2012/04/twin-peaks_m_jpg_627x325_crop_upscale_q85.jpg)

Quote from: Pizzobatto on 25-07-2014, 02:35:19
po netu se širi rečenica

''Next Tuesday, the wait is finally over.''

A neki od nas ne mogu da dočekaju! :-| :-| :-|

Supposedly Showtime may announce the new season of Twin Peaks tomorrow. Today David Lynch and Mark Frost both followed the head of Showtime on Twitter and he followed THEM! CBS owns Showtime, they also own the rights to the Twin Peaks name and Blu-ray box set.
Rumor has it that David Lynch is directing every episode of an 8-10 episode season of Twin Peaks on Showtime....
Did Lynch and Frost plan this the whole time? The fact that it's coming up on the 25th anniversary in a script that plays out a 25 years later scenario is pretty significant in my opinion...


http://welcometotwinpeaks.com/news/twin-peaks-showtime/ (http://welcometotwinpeaks.com/news/twin-peaks-showtime/)

'Twin Peaks' Revival to Air on Showtime in 2016

Twin Peaks Returning to TV

OCTOBER 6, 2014 | 08:30AM PT
Cynthia Littleton


"Twin Peaks," the ABC series that was a forerunner of today's offbeat serialized cable dramas, is coming back to life with nine new episodes to air on Showtime in 2016.

Series creators David Lynch and Mark Frost are working away on the scripts, with Lynch planning to direct all nine episodes. The episodes are expected to bow in early 2016, which would coincide with the 25th anniversary of the show's demise after two seasons on ABC in 1990 and 1991.


The new segs will be set in the present day and continue storylines established in the second season. Frost emphasized that the new episodes will not be a remake or reboot but will reflect the passage of time since viewers last checked in with key characters. As part of the deal, Showtime will rerun episodes from the original series' first two seasons leading up to the 2016 premiere.

Frost would not elaborate on plot details or even the characters that will come into play. But the story threads that will picked up were "baked in to the last episode," Frost told Variety. He called it "the next chapter of the story" and said that the passage of 25 years will be an important element in the plot.

"For those followers of the show who felt bereft when the show ended where it did all those years ago are going to like where it goes from here," Frost assured. "And we hope that a lot of people who haven't been to Twin Peaks yet are going to be equally interested in where the story goes from where we left off."

"Twin Peaks" was ahead of its time in its unusual, often surreal approach to telling the yarn of a murder mystery in a fictional small town in Washington state. The show bowed with a ton of buzz — Lynch was red-hot as a feature helmer at the time — but it had little in the way of a sustained audience by broadcast TV standards of the day.

The series has remained a cult favorite over the years and thus was a ripe candidate for revival amid the general mania in the TV biz for reinventing vintage film and TV titles.

Lynch and Frost have retained ownership of "Twin Peaks" all these years. CBS has distribution rights to the show through the deficit-financing pact that Lynch/Frost Prods. set back in the day with Aaron Spelling's Worldvision distribution arm, which CBS now controls.

Another key connection that helped the new-model "Twin Peaks" land at Showtime is the pay cabler's Gary Levine, exec VP of original programming, who was the ABC exec who developed and championed the show during its original run.

Lynch and Frost have talked about taking another run at the Twin Peaks world over the years, but the effort got serious about three years ago when the two had one of their semi-regular lunches at Hollywood's Musso and Frank Grill. It was not lost on either of them that "Twin Peaks" had proved to be a TV pioneer in many respects. Aspects of the show that were seen as a handicap in the ABC days are now pillars of the contempo generation of edgy cable and pay cable series.

"I always felt that in 'Twin Peaks' we were more or less filming a novel — drilling down to a level of detail you weren't used to seeing in network storytelling," Frost said. "Over the years a lot of people have credited us with inspiring them to think differently in how to tell stories. Now that we're doing (the show) again, I'm happy to come back and get in on the action."

Lynch and Frost didn't shop the series around. Showtime was a natural home because of the latitude offered by pay cable, plus the comfort level offered by the connection with Levine.

"Showtime was the place we felt most comfortable going to after meeting with Gary and (Showtime prexy) David Nevins and seeing their passion for the show," Frost said. "Gary we consider a good friend and David I've known for quite a while."

There's no word yet about casting. In the original series, Kyle MacLachlan (pictured) played the pivotal role of the Agent Dale Cooper, the FBI agent who comes to the small town to investigate the murder of homecoming queen Laura Palmer.

After that mystery was solved, the show explored even more seamy goings-on and oddball characters in the town. The pilot for the original series was shot on location in Washington state, but subsequent episodes were primarly lensed on stages in the San Fernando Valley. There's no decision yet on a shooting location for the new segs.

Frost said it was still to be determined whether the revival will be a one-time limited series or an ongoing effort.

"The proof will be in the pudding. If we have a great time doing it and everybody loves it and they decide there's room for more, I could see it going that way," he said. The original "Twin Peaks" premiered on April 8, 1990 and had its last original telecast in June 1991. A prequel story, "Twin Peaks: A Fire Walk with Me," was filmed as part of the series but wound up being released as a feature by New Line in 1992.

The TV series has endured for a new generation of fans through periodic homevid releases and more recently, a streaming pact with Netflix. The AFI hosted a tribute to the show in Los Angeles in July in connection with the Blu-ray/DVD release "Twin Peaks: The Entire Mystery."

Given the show's legacy and the rabid fandom it has inspired, Frost admitted that he and Lynch feel the pressure to make the new episodes worthy additions to the canon.

"We can't rest on our laurels," he said, which is a key reason why Lynch has committed to directing all nine hours.

"This show is a kind of thanks to all of the incredibly passionate fans we've had over the years that have kept the show alive and passed it down to the next generation," Frost said. "We've been lucky enough to have one of the coolest, most intelligent, most inquisitive group of people attracted to our show. We're happy for them that the show is coming back."

In a statement issued by Showtime, Lynch and Frost quipped: "The mysterious and special world of Twin Peaks is pulling us back. We're very excited. May the forest be with you."

http://variety.com/2014/tv/news/twin-peaks-revival-to-air-on-showtime-in-2016-1201322329/ (http://variety.com/2014/tv/news/twin-peaks-revival-to-air-on-showtime-in-2016-1201322329/)

25 godina kasnije...vau... kada je proslo prvih 10 godina od nastanka serije mislio sam da vise nema nade (narocito imajuci u vidu kako je lose zavrsio na blagajnama Fire Walk With Me, gresni ali ipak upectljav mi film dragog Linca). Kada je proslo 20 godina nisam vise ni razmisljao o Twin Peaks... a sada... potrebno je sacekati da se ova ideja stvarno realizuje, nada  da ce se bar vecina glumaca vratiti ("na srecu" ni jedan od njih nije imao neku zavidnu karijeru nakon a ni trenutno) i konacno sve to odgledati... a dotle, dobro paziti na pesackom prelazu i jesti zdravu hranu bez onih oznaka na E... pa valjda izguram ;)

A special TWIN PEAKS announcement (http://www.youtube.com/watch?v=nNHsA4WIFvc#ws)

Je l zna neko gde mogu besplatno da skinem (piratsku?) kopiju knjige Lynch on Lynch?

nema te, al ima nekih drugih o Linču

http://gen.lib.rus.ec (http://gen.lib.rus.ec)

Ja trazim bas tu posto me intervjui mnogo vise zanimaju od filmske teorije, ali hvala u svakom slucaju  :mrgreen:

Quote from: usputni_boem on 04-09-2015, 17:37:17
Je l zna neko gde mogu besplatno da skinem (piratsku?) kopiju knjige Lynch on Lynch?

prilično je beskorisna u smislu nekog dubljeg uvida: deda linč ne voli da analizira svoja dela i da naširoko filozofira o svojim temama i idejama (poput, recimo, kronenberga).
lepo je to pročitati, ali ne grizi se mnogo ako je ne nađeš jer ne gubiš mnogo.

imaš ovo što je sam Linč pisao
http://gen.lib.rus.ec/book/index.php?md5=E733A7371F63F87B6A0DA2B150269D61 (http://gen.lib.rus.ec/book/index.php?md5=E733A7371F63F87B6A0DA2B150269D61)

Dejvid Linč: Više nikada neću snimiti film (http://www.b92.net/kultura/vesti.php?nav_category=268&yyyy=2017&mm=05&dd=06&nav_id=1257544)

QuoteAmerički režiser Dejvid Linč, autor filmskih hitova "Blue Velvet", "Eraserhead" i "Mulholland Drive", izjavio je za The Sydney Morning Herald da više neće snimati filmove, prenosi Independent.
"Stvari su se mnogo promenile. Veliki broj filmova koji mogu da se smatraju kvalitetnim nije uspeo da ostvari solidnu zaradu na bioskopskim blagajnama, a filmovi koji su se pokazali uspešnim nisu ono što bih želeo da radim", rekao je režiser.

Na pitanje da li je njegovo najskorije najveće ostvarenje - "Inland Empire" iz 2006. godine - ujedno i njegov poslednji film, Linč je odgovorio "Da, jeste".

Srećom, ljubitelji opusa slavnog režisera moći će da uživaju u nastavku serije "Twin Peaks" , koja se 21. maja vraća se na male ekrane, nakon 26 godina pauze.

Režiser se takođe pojavljuje u novom dokumentarcu "David Lynch: The Art Life", koji će u bioskopima premijerno biti prikazan 14. jula.

Dobro, covek koji je snimio Blue Velvet i Lost Highway je vec uradio dovoljno  xjap

Quote from: usputni_boem on 08-05-2017, 15:20:45
Dobro, covek koji je snimio Wild at Heart i Lost Highway je vec uradio dovoljno  xjap

Fiksd 8-)

Meni je Wild at Heart ok, ali daleko od Blue Velveta, Lost Highwaya i Mullholland Drivea (a i Twin Peaksa, ako racunamo i serije).

Nekako mi je Lost Highway najjači Linčov film.

Mullholand me mnogo nervira završetak, ne znam šta bi trebalo da bude na kraju ali ono što jeste mi je više finta nego nešto ozbiljno.

Nisam gledo Dune i Inland Empire, bez njih

1. Lost Highway
2. Wild at Heart
3. Mullholand Drive

Ne znam na šta tačno misliš, ali ima negde na netu pdf "Strukture svesnog i podsvesnog u filmu Mullholland drive", verovatno nije tako doslovno, ali sigurno ćeš ga naći, to je neki diplomski rad, secira film skoro scenu po scenu. Pa vidi da li se slažete. Dobar je i Mullholland ali je Highway hororičniji, uvrnutiji, i ima odličan saundtrek.

Mislim na to da je sve na kraju bilo u nečijoj glavi iliti podsvjesno :)

Čitao sam jednom taj rad. Ne znam kako bih to nazvao, ali vrlo rijetko podnosim te subjektivističke filmove, tokove svijesti, Memento... Skoro mi i Fight club upropastili, mada tu nije toliko strašno, nije ni u Mullholandu, bolji mi je od Velveta, no to mu je zamjerka

Meni se svideo i kraj Mullhollanda, cak mi je i dotakao emocije, sto mi se inace cesto desava s Lincovim filmovima  (kako pozitivne, tako i "negativne" emocije - Lost Highway mi je jedan od najjezivijih filmova ikad). Meni je sve bilo jasno u Mullhollandu, al se sad ne secam bas tacno sta se desava na kraju... Uglavnom, sve se vrti oko prevrtljive prirode Holivuda, i unistenih snova Naomi Watts...

Quote from: Petronije on 08-05-2017, 19:05:19
Dobar je i Mullholland ali je Highway hororičniji, uvrnutiji, i ima odličan saundtrek.

Da, jos Rammstein pre nego sto su postali slavni :) Lost Highway mu je vizuelno najbolji film, ima dosta kul, upamtljivih fora...

A ja se baš slabije sjećam LH a mislim da je najbolji Linč :)

Moraću to da ponovim...

Niko da pomene Eraserhead?

Nisam preveliki fan, LH mi je bio odlican (odma posle Eraserhead-a), Blue Velvet dobar, ostalo nisam ukapirala. nas-rofl a bas ne volim kad na kraju ne znam sta sam to dodjavola gledala, ne rade me ti rediteljski ego-tripovi.

Kažu ljudi treba gledati Linča napušen i onda je sve jasno :)

LH i MHDr se gledaju u istom ključu, vrlo slični filmovi u osnovi, samo malo drugačije "upakovani".

Moguce. Nisam gledala Inland Empire, treba se pripremiti za taj posao :lol:

Takodje, ovaj Strejt Stori mi je delovao kao golemo smaranje, pa nisam ni razmatrala...