INLAND EMPIRE

INLAND EMPIRE (yes, the title is meant to be capitalized) can be viewed as a cautionary tale dealing with the illusory qualities and the dangers of a life spent in the entertainment industry, as sort of commentary on the seedy underbelly of Hollywood. Alternately, it is a story of a Polish folktale and a gypsy curse come to life. Or it is a prime-time situational comedy that takes place in an alternate dimension with giant talking rabbits and a disturbing laugh track underscoring lines that are anything but comedic. Or it is a story of an unsuspecting human being thrown headlong into a world of space and time travel rivaled only in its intensity by Vonnegut’s Slaughterhouse-Five- An extreme depiction of dissociative identity disorder and a development on themes previously explored in Lynch films such as Lost Highway and Mulholland Drive.

INLAND EMPIRE could be an abstract representation of the human psyche, littered with images of lust, jealousy, betrayal and the redemptive magic of love. It could be Lynch’s doctoral dissertation on the absurdity of human existence. It could be about a prostitute with a hole in her vaginal wall and a pet spider monkey. It could be portraying the mental deterioration of an actress who has stepped out of her depth and into a shadowy nightmare world of hallucination. It could be about a woman suffering the grief that comes with losing a loved one, locked into her trauma and replaying her life continuously, a movie within a movie within a movie, exploring Nietzsche’s “Eternal Return”… The question might be more about what you bring to it, and what you get out of it.

This film is at once all of these narratives and none of them… And this makes writing a decent review of the film somewhat of a logistical nightmare.

Let it be known here: This movie is not for everyone. It is bound to annoy and possibly even anger anyone naïve enough to expect a strictly linear and self-explanatory plot trajectory from a David Lynch film. If you want the answers here, you are going to have to do what demographic research has shown time and time again to be the least favorite pastime of many Americans: You are going to have to do the hard work yourself. You are going to have to think. You are going to have to dig. In a world where big budget entertainment companies seem to think the average American consumer’s intelligence demands shitfests like Daddy Day Camp, shouldn’t we be grateful?

As with all of Lynch’s films, INLAND EMPIRE is less about what the director tells you and more about what is left unsaid. Since 1979’s surrealist cult classic Eraserhead Lynch has been challenging his audience with complex and multi-dimensional Rorschach tests. If there is one element in his story telling that remains a constant it is his refusal to provide cut and dry explanations of his films to the viewer. Some things happen, and it is up to you to place these events into a sort of mental framework or context. The result of this approach is an interaction between the artist and the viewer that becomes a dynamic relationship and a collaborative effort in the story telling process.

Aesthetically the movie- it can only be called a film in a general sense of the term as it was shot entirely digitally with consumer level DV cams- is perhaps the most visually interesting title in the Lynch repertoire. The grainy and raw look of much of the footage makes it an entirely unique viewing experience and sets it apart from previous Lynch works. Although this may initially be a turn off to those who are not used to seeing a movie shot in this manner, the effect does not diminish the whole so much as it provides a visually unconventional avenue for story telling. The effective use of such low budget equipment is also, I would imagine, a very convincing call to action for young movie makers with very little dispensable income or financial backing.

I will not spoil the experience of trying to stumble your way through this dimly lit labyrinth on your own, but there are a few general and sometimes irreconcilable plot elements that I feel comfortable revealing. Our protagonist Nikki Grace (played by Laura Dern in what could easily be considered an Oscar-worthy performance) receives news that she has been accepted as the leading lady for the film “On High In Blue Tomorrows”. Sometime shortly thereafter she develops romantic feelings for her co-star Devon Berk (played by Justin Theroux in his sophomore effort working with Lynch). There is a small problem: “On High In Blue Tomorrows” is to be a remake of a film entitled “47” that was never finished. Why was it never finished? The original leads were murdered, and there are rumors the production is cursed. Nikki soon becomes unable to distinguish between her role as Susan Blue and her core identity and finds herself living multiple lives. Typical Lynchian absurdity featuring teleporting hookers dancing to “The Locomotion”, domestic violence, and circus clowns ensue.

Although the majority of the scenes are dark and shadowy the use of color is integral to the story and showcases some of the strengths of digital video. One receives the distinct impression that there is some sort of color coordination to the narrative. As scene dissolves into scene the film unravels itself in a nonlinear way and certain characters appear, disappear, and reappear alongside the saturation of colors that are used very deliberately. Although by design the narrative is disorienting and fragmented, through the use of certain visual cues we are left with the impression that there might just be a method to the madness if we can tie the pieces together. Like its predecessor Lost Highway, the structure of the film seems to be in the form of a mobius strip. The beginning and the ends overlap each other and it seems that our protagonists are stuck repeating themselves and reliving their memories endlessly.

At times (some may say excessively) self-indulgent and incoherent, although equally ambitious, this is Lynch unfiltered. Doubtlessly his most impressionistic film since Eraserhead, diehard fans of Lynch’s work will remember this as his masterpiece. Although INLAND EMPIRE will appeal to most Lynch veterans, it definitely isn’t a great introduction to his work. First timers should seek out Blue Velvet for an introduction. Longtime fans or those who enjoy the absurdity and the sheer existential horror of films like Jacob’s Ladder will quickly find themselves immersed in INLAND EMPIRE. Most others will find themselves bewildered or demanding a refund.

Order INLAND EMPIRE on Amazon.com.

Additional links:

BBC series Scene By Scene.

Many Questions No Answers.

Masterclass part 1.

Conversation amNY.com.