The approach as leading connection to LH and MD

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The approach as leading connection to LH and MD

Postby erniesam » Fri May 23, 2014 6:29 am

I see IE as an unmistaken part of the unity between LH and MD. Although I'm just beginning to delve into this movie, I automatically compare it to these last two movies and I think that the approach is the leading connection between them all.

With approach I mean essentially the framework of the movies: all three consists of a story unfolding inside the mind of the potagonist. All three are vastly different in theme and resolvement, but in my opinion in all three does Lynch show us the inner workings of someone's mind. And all three share the comparison that this fantasy, a suppression of a trauma or miserable life, is gradualy being penetrated by reality. MD and IE share another common theme, that is the destructive nature of Hollywood.

This is just my approach of course, but I cannot help but to see IE in the same light. I certainly do think that one explanation is the right one, a grand unified theory if you will, just like LH and MD. That isn't to say that the stories are completely linear or final; there are lots of symbols that require a certain interpretation, while many could be explained in multiple ways. The basis plot in each movie is certainly decipherable.

So, when |I learned how to watch these two movies in a certain way, I thought I would give IE another try, because the first viewing wasn't particularly succesful. This time the movie realy did make sense, although there is much I still cannot place or connect. My overall initial view, as it now stands is this:

Nikki has a miserable life. She imagines herself to be a moviestar and she takes on the role of the other woman of this particular film (or soap). This film consists of a woman, a husband and a son. By taking over this role, she actually cheats on this woman with her husband. THis woman is out of the picture (literally) and Nikki lives her life. THroughout the fantasy of Nikki we see reality creeping in: the child who gets sick, her husband telling her he can't have children, Nikki claiming she has lost her son, the image of Nikki with blood on her hands (like she had an abortion) etc. The same with the husband who changes several times into what he realy is: the husband of the (Polish) girl, while Nikki doesn't have a husband at all (I think Crimp is just a representation of her miserable life).

We see the image of Crimp as being her image of terror, while when she shoots it it changes into Billy (her childhood boyfriend) and herself. So here we see actually Nikki shooting her own family life she so desires. But it seems that fighting this isn't the answer. Instead she walks back into the room with the Polish girl and makes up with her. She walks backwards in time and gives this girl her actual role back, so that this image of terror disappears. So instead of fighting it, Nikki accepts her fate or existence and is thereby saved.

I believe the sitcom with the rabbits represents this "project" in which Nikki has taken over the role of the Polish girl. I believe Polish represents the "other world." The world of cinema / Hollywood / television. The word also resembles "police" and it is the Polish maffia who is chasing the truth in the fantasy of Nikki, they "represent" the Polish girl / the actual actress. So why the rabbits outfit? I think the obvious reason is of course to hide the real identities of the actors. But more importantly I think it refers to Alice in Wonderland, who followed the rabbit into Wonderland. This would be Nikki's fantasy or indeed the land of Hollywood on the other side of the screen.

There is of course much more to say about this well...masterpiece, but this is in short my overall view of it. I believe that the approach of being inside the mind of the protagonist is the key to unravel the movie.


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