AhmedKhalifa wrote:Joe McCluskey wrote:Like many others in this thread, I have been pretty underwhelmed by this new season. I recently made a brief video talking about David Lynch's self-indulgence in THE RETURN, particularly when it comes to the character of Gordon Cole. Here's a link to the video if you have any interest: https://www.youtube.com/watch?v=pVy51xrDzpk
Thanks for this. Well done, and calls out Lynch for some truly cringe-worthy moments and decisions.
Glad you liked the video. Lynch certainty had a lot of those types of moments!
AhmedKhalifa wrote:referendum wrote:I'm primarily interested in the story I'm supposed to be told than trying to find a story where there doesn't seem to be one.
You can't really call Inland Empire or Lost Highway or Mulholland Drive or even Eraserhead to be stories in the traditional sense, they have a central idea and a basic structure which they hang scenes round, but stories? Lynch has never really done plot development. Even the straight story is just a situation, a guy goes on a journey from A to B, things happen along the way. There are loads of writers whose books are like this, too. You would be hard pressed to find much of a story in a book by J G Ballard: his books explore set ups, situations, worlds. Usually focusing on a small group of people whose characters never develop. You could say the same for Celine, Burroughs, Bernhard, etc. Nobody reads Beckett for the plot. Alot of so-called ' poetic' literature or film-making is like this. There are ' stories' but not much of a story, as such. If you want plot development, go elsewhere. There's enough of it about.
I beg to differ. Lynch has repeatedly said in interviews that for him films, unlike paintings and sculptures, are all about story. All his movies up until Inland Empire, were tightly if strangely constructed plots with surrealist overtones. TWIN PEAKS and FWWM were about stories and characters that were very well developed and that's why viewers cared about Cooper, Laura, Audrey and waited 25 years to know what happened to their stories. TPTR is arguably Lynch being lazy and self-indulgent to the point of taking TP, which in the pilot that Lynch cowrote, was marvellously written with well developed characters, and doing to it what he has been doing for years, resting on his laurels and recycling his absurdist schtick to the point of self parody, IMO.
Good point, Ahmed. There is definitely a sharp contrast between Lynch's older films and some of his newer stuff like TP:TR. As SteveLiam mentioned in an earlier post:
SteveLiam wrote: ...Eraserhead has a central theme, and most of its scenes exist to explore and service that theme. There's a cohesiveness to it a result, and it resonates emotionally. The Return was all over the place. It didn't seem to have anything in particular on its mind. But, it didn't really have a story, either.
I suppose the lack of plot/development in TP:TR would be fine if the abstract elements & other Lynchian aspects were intriguing enough, but they weren't, so it doesn't compensate for the lack of a real plot. TP is all about the characters, and Lynch decided that he would mostly abandon this crucial part of what made the original series so good. It makes you wonder if he's actually a fan of the TP world, or if he just wanted to indulge in his newfound interests under the TP name.