DOCSLIB.ORG

The Straight Story: "And You'll Find Happy Times"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Straight Story: THE STRAIGHT STORY brother Henry. (In the film, Lynch changed the name of Straight's brother to Lyle.)' Where's the Lynchian twist? Well, it isn't that Alvin's brother Lyle CHAPTER TWO (Harry Dean Stanton) has recently suffered a serious stroke and that Alvin fears that if he doesn't act quickly, he and his brother may never have THE STRAIGHT STORY: time and space here on Earth to get past their hostility. That's the sort of plot complication that raises the stakes in many an ordinary Hollywood "AND YOU'LL FIND movie. And it isn't that Alvin Straight makes this trip of more than 300 miles on a small John Deere riding mower attached to a primitive trailer HAPPY TIMES" he has thrown together out of scrap wood to tote his provisions along with him. What Alvin decides to do in order to get to Lyle is only a matter of common sense. Alvin, who can't walk without the aid of two canes and There's a whole theory ... called decoherence. Which is the business of is legally blind, no longer has a driver's license. There is no bus or train explaining how classical-looking phenomena arise under the appropriate that can get him from Laurens to Mt. Zion, and there is no one to drive circumstances from an underlying quantum mechanical set of laws .... him there. So he takes the mechanically improbable yet strategically logi­ DAVID ALBERT, APPENDIX II, "PARTICLES AND HUMAN BEINGS" cal step of using a riding mower-which he can legally drive-for heavy duty transportation, far beyond what it was made to stand. Still, it is all ... the quantum reality is the fundamental one. That's certainly the way that Alvin has on hand to accomplish his purposes. Eccentric. Implacable. quantum mechanics is presented. The Newtonian world is a set of appear­ But not really Lynchian, since in his films Lynch has never been a fan of ances that quantum mechanics can produce under certain circumstances. unstoppable determination-or linearity. DAVID ALBERT, APPENDIX II, "WATCHING INLAND EMPIRE" The twist here is that Lynch embraces this linear story with a passion: Alvin's tale traces a straight line from observable and observed point A Wish on the moon to a similarly uncomplicated point B, the story's terminus, exactly where And look lor the gold in a rainbow we expected it to be, at Lyle's house. Business as usual in the minds of And you'll lind happy times." many, but notLynch as usual. The clean lines of the journey could not be "HAPPY TIMES," WRITTEN BY SYLVIA FINE AND JOHNNY GREEN (1949), further from Lynch's typically complex interconnected narrative arcs. Nor could its tale of an old man's last hurrah be more different from Lynch's PERFORMED BY JO STAFFORD usual baroque violence and byzantine, convoluted patterns oflurid sexu­ ality. The simple clarity of Alvin's trip seems to be a universe apart from Lynch's hallmark visual and narrative digressions; his reversals of time or his forays into the mysteries of space, which Lynch takes as a constant in From certain vantage points in Manhattan, the Empire State Building life. But it isn't part of another universe; it is a Lynchian miracle. seems to be directly ahead in a straight line and very close when it is ac­ lovingly rigid motivation driving Alvin's story constitutes a wonder tually significantly east or west of where it seems to be and very far away. the Lynchverse, and this is how Lynch treats it. This kind of illusion is typical of space as Lynch presents it-usually. But For an artist lil<e Lynch who believes that the world is a tangle of in The Straight Story, things are generally exactly where they appear to be. m"tcertacinlv motivated particles that confound our illusions about stable Spatially straightforward in its construction, The Straight Story (1999) is tne:1sures of time and solid objects in space, linearity is miraculous, es­ fictional recounting of the trip one Alvin Straight (played in the film pe<:IaJJywlten it is benign. Tims this "straight story" told by an artist who Richard Farnsworth) actually made in 1994 from Laurens, Iowa, to Un,dei·st,mcls the world as part of a boundless universe (curved if we are Zion, Wisconsin, in order to try for a reconciliation with his 61 ,___, DAVID LYNCH SWERVES TH£ STRAIGHT STORY to believe Albert Einstein) is much more eccentric-from the Lynchian What will concern us here is Lynch's ability to include in his horizon point of view-than the possession of Leland Palmer (Ray Wise) by BOB of reality an event that he has often publicly said is very moving to him (Frank Silva) in his Twin Peaks cycle or the machinations of the Mystery but which would seem to negate every other statement he has made about Man (Robert Blake) in Lost Highway. Leland/BOB and the Mystery Man, the way human beings live. How can a man like Alvin exist in the imagina­ figures of violence and disturbed sexuality, are utterly comprehensible tion ofDavid Lynch? As we shall see, there is only one way. Alvin's labor of within the frame of reference that is normative for Lynch. He sees them love needs to be looked at in the moments in which he plans and executes and the power they have as natural consequences of the illusions cul­ his mission of mercy to his brother, and in those moments alone, so that ture maintains about the physical and spiritual nature of being. What the cosmic details that usually complicate the Lynchian character are astonishes and moves Lynch about the story ofAlvin Straight is the sweet, filtered out except for traces of their absence. To celebrate Alvin's deed, quiet, purity of a simple intent systematically realized. Love, to Lynch's which Lynch clearly wishes to do, he must ask us to see it as a privileged delighted amazement, can exist within the illusions of a bounded culture. horizontal cut of time and space, in which things seem to be certain and And Alvin, whose story has roots in reality, is the proof. But you have to determined. To accomplish this, Lynch withholds a great deal of informa­ squint to see it. tion about Alvin and the people he meets on his way to Lyle's shack in Yes, yes, Lyncl1 affirms, we can speak of solid presence within the Mt. Zion. In The Straight Story, isolated comments by the characters that landscape of uncertainty, but our ability to look at it must be tightly suggest qualities and situations just beyond the limits of our vision as circumscribed and controlled. Somehow it must be cast in a light that spectators abound, but find no visual or dramatic elaboration. hides the truth about matter in space and time at its most basic level For example, in an early scene, Alvin tells a young, unmarried, preg­ in order to reveal another truth: that people can under certain circum~ nant girl he encounters, who is running away from home out of guilt and stances willfully assert what is best about human nature. As we know, shame, about his own daughter Rose (Sissy Spacek) and the loss of her for Lynch, willful assertion usually masks the truth of an indeterminate children. Mentioning that Rose had her children taken away from her marketplace and comes in the toxic forms of a Mr. Eddy and a Mystery by the government because her little boy was badly burned while "some­ Man. Here, on the contrary, willful assertion of purpose is filled with one" else was babysitting for her, Alvin opens up an ellipsis of significant the power of familial love to transform the limited, linear marketplace proportions. Who is the tantalizingly vague "someone"? Was it, as Tim perspective into a way of channeling love. However, Lynch does not stop Kreider speculates in his review in Film Quarterly (Fall2ooo), Alvin? Rose is being Lynch when he tells Alvin's story; rather, an important part of his blamed for the incident by the authorities because she is simple-minded, tale is to reveal how such an inversion on the usual state of things in the says Alvin, a description of his daughter that he does not endorse. That marketplace can exist. being the case, did he try to do anything about appealing the official deci­ In The Straight Story, Alvin's devotion to his quest to mend fences with sion? If not, why not? If he did, why didn't he succeed? Of course there is Lyle is a certainty not easily spoken of by Lynch or simply achieved. But no room in this scene for that ldnd of exposition. But these uncertainties the elements of this true story (only slightly altered in Lynch's version) forever twist in the wind as Alvin moves toward Mt. Zion. And, as we shall serendipitously permitted Lynch to tell the tale with a focus so narrow see below, these questions are joined by many, many more. that the usual disturbing elements that require Lynch to depict action The task of this discussion of The Straight Story will not be to flesh out through superposition, entanglement, and many worlds could be mar­ what Lynch leaves only partly evoked, but to note the importance of the ginalized to the periphery of our vision. And there they linger, present tantalizing incompleteness of the picture we get, an incompleteness that only as a subtle sense of something unspoken, maintaining Lynch's view by accretion forms a generalized aura of uncertainty that shakes up the of the universe as he draws a portrait of a man who for all intents and minutely detailed images we get of what is immediately in our line of purposes shatters that view and comes as close to being a conventional vision as spectators.
Load more

Recommended publications
  • The Art of David Lynch
    The Art of David Lynch weil das Kino heute wieder anders funktioniert; für ei- nen wie ihn ist da kein Platz. Aber deswegen hat Lynch ja nicht seine Kunst aufgegeben, und nicht einmal das Filmen. Es ist nur so, dass das Mainstream-Kino den Kaperversuch durch die Kunst ziemlich fundamental abgeschlagen hat. Jetzt den Filmen von David Lynch noch einmal wieder zu begegnen, ist ein Glücksfall. Danach muss man sich zum Fernsehapparat oder ins Museum bemühen. (Und grimmig die Propaganda des Künstlers für den Unfug transzendentaler Meditation herunterschlucken; »nobody is perfect.«) Was also ist das Besondere an David Lynch? Seine Arbeit geschah und geschieht nach den »Spielregeln der Kunst«, die bekanntlich in ihrer eigenen Schöpfung und zugleich in ihrem eigenen Bruch bestehen. Man er- kennt einen David-Lynch-Film auf Anhieb, aber niemals David Lynch hat David Lynch einen »David-Lynch-Film« gedreht. Be- 21 stimmte Motive (sagen wir: Stehlampen, Hotelflure, die Farbe Rot, Hauchgesänge von Frauen, das industrielle Rauschen, visuelle Americana), bestimmte Figuren (die Frau im Mehrfachleben, der Kobold, Kyle MacLachlan als Stellvertreter in einer magischen Biographie - weni- ger, was ein Leben als vielmehr, was das Suchen und Was ist das Besondere an David Lynch? Abgesehen Erkennen anbelangt, Väter und Polizisten), bestimmte davon, dass er ein paar veritable Kultfilme geschaffen Plot-Fragmente (die nie auflösbare Intrige, die Suche hat, Filme, wie ERASERHEAD, BLUE VELVET oder die als Sturz in den Abgrund, die Verbindung von Gewalt TV-Serie TWIN PEAKS, die aus merkwürdigen Gründen und Design) kehren in wechselnden Kompositionen (denn im klassischen Sinn zu »verstehen« hat sie ja nie wieder, ganz zu schweigen von Techniken wie dem jemand gewagt) die genau richtigen Bilder zur genau nicht-linearen Erzählen, dem Eindringen in die ver- richtigen Zeit zu den genau richtigen Menschen brach- borgenen Innenwelten von Milieus und Menschen, der ten, und abgesehen davon, dass er in einer bestimmten Grenzüberschreitung von Traum und Realität.
    [Show full text]
  • Production Designer Jack Fisk to Be the Focus of a Fifteen-Film ‘See It Big!’ Retrospective
    FOR IMMEDIATE RELEASE PRODUCTION DESIGNER JACK FISK TO BE THE FOCUS OF A FIFTEEN-FILM ‘SEE IT BIG!’ RETROSPECTIVE Series will include Fisk’s collaborations with Terrence Malick, Brian De Palma, Paul Thomas Anderson, and more March 11–April 1, 2016 at Museum of the Moving Image Astoria, Queens, New York, March 1, 2016—Since the early 1970s, Jack Fisk has been a secret weapon for some of America’s most celebrated auteurs, having served as production designer (and earlier, as art director) on all of Terrence Malick’s films, and with memorable collaborations with David Lynch, Paul Thomas Anderson, and Brian De Palma. Nominated for a second Academy Award for The Revenant, and with the release of Malick’s new film Knight of Cups, Museum of the Moving Image will celebrate the artistry of Jack Fisk, master of the immersive 360-degree set, with a fifteen-film retrospective. The screening series See It Big! Jack Fisk runs March 11 through April 1, 2016, and includes all of Fisk’s films with the directors mentioned above: all of Malick’s features, Lynch’s Mulholland Drive and The Straight Story, De Palma’s Carrie and Phantom of the Paradise, and Anderson’s There Will Be Blood. The Museum will also show early B- movie fantasias Messiah of Evil and Darktown Strutters, Stanley Donen’s arch- affectionate retro musical Movie Movie, and Fisk’s directorial debut, Raggedy Man (starring Sissy Spacek, Fisk’s partner since they met on the set of Badlands in 1973). Most titles will be shown in 35mm. See below for schedule and descriptions.
    [Show full text]
  • ROGÉRIO FERRARAZ O Cinema Limítrofe De David Lynch Programa
    ROGÉRIO FERRARAZ O cinema limítrofe de David Lynch Programa de Estudos Pós-Graduados em Comunicação e Semiótica Pontifícia Universidade Católica de São Paulo (PUC/SP) São Paulo 2003 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC/SP Programa de Estudos Pós-Graduados em Comunicação e Semiótica O cinema limítrofe de David Lynch ROGÉRIO FERRARAZ Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutor em Comunicação e Semiótica – Intersemiose na Literatura e nas Artes, sob a orientação da Profa. Dra. Lúcia Nagib São Paulo 2003 Banca Examinadora Dedicatória Às minhas avós Maria (em memória) e Adibe. Agradecimentos - À minha orientadora Profª Drª Lúcia Nagib, pelos ensinamentos, paciência e amizade; - Aos professores, funcionários e colegas do COS (PUC), especialmente aos amigos do Centro de Estudos de Cinema (CEC); - À CAPES, pelas bolsas de doutorado e doutorado sanduíche; - À University of California, Los Angeles (UCLA), por me receber como pesquisador visitante, especialmente ao Prof. Dr. Randal Johnson, supervisor de meus trabalhos no exterior, e aos professores, funcionários e colegas do Department of Spanish and Portuguese, do Department of Film, Television and Digital Media e do UCLA Film and Television Archives; - A David Lynch, pela entrevista concedida e pela simpatia com que me recebeu em sua casa; - Ao American Film Institute (AFI), pela atenção dos funcionários e por disponibilizar os arquivos sobre Lynch; - Aos meus amigos de ontem, hoje e sempre, em especial ao Marcus Bastos e à Maite Conde, pelas incontáveis discussões sobre cinema e sobre a obra de Lynch; - E, claro, a toda minha família, principalmente aos meus pais, Claudio e Laila, pelo amor, carinho, união e suporte – em todos os sentidos.
    [Show full text]
  • Mark Kermode
    MARK KERMODE HATCHET JOB LOVE MOVIES, HATE CRITICS PICADOR First published 2013 by Picador First published in paperback 2013 by Picador This edition first published 2014 by Picador an imprint of Pan Macmillan, a division of Macmillan Publishers Limited Pan Macmillan, 20 New Wharf Road, London N1 9RR Basingstoke and Oxford Associated companies throughout the world www.panmacmillan.com ISBN 978-1-4472-3053-3 Copyright © Mark Kermode 2013 The right of Mark Kermode to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. ‘Those top ten films of all time as voted by the nation’s most irritating film critics.’ Reproduction by kind permission of PRIVATE EYE magazine – www.private-eye.co.uk 9 8 7 6 5 4 3 2 1 A CIP catalogue record for this book is available from the British Library. Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.
    [Show full text]
  • Šablona -- Závěrečná Práce
    Ohebnost zvuku ve filmové tvorbě Davida Lynche Ann Kuznetzova Bakalářská práce 2020 ABSTRAKT Tato práce se zaměřuje na analýzu zvukové tvorby Davida Lynche, především filmové, na příkladu jeho audiovizuálních děl Mazací hlava, Příběh Alvina Straighta, Inland Empire a jejich srovnání. Zabývá se způsobem ztvárnění idejí a určením charakteru zvukové tvorby Davida Lynche. Hlavním cílem je zjistit, do jaké míry je podstatná a v čem spočívá její určující dominantní vlastnost – ohebnost, a také prozkoumat vliv jiných druhů umění, osob, prostředí a událostí, které tvůrce dovedly k vlastnímu uměleckému sebevyjádření prostřednictvím zvuku. Obsahuje také rozhovor se zvukovým inženýrem Johnem Neffem, který se podělil o svoji zkušenost ze spolupráce s Lynchem. Klíčová slova: David Lynch, filmový zvuk, filmová hudba, Mazací hlava, Příběh Alvina Straighta, Inland Empire, Angelo Badalamenti, Alan Splet, Dean Hurley, John Neff ABSTRACT This Bachelor thesis focuses on the soundtrack in the cinematography of David Lynch with its primary goal of analyzing and comparing films of his authorship, in particular Eraserhead, The Straight Story, and Inland Empire. This thesis examines David Lynch’s creative process and establish the essence of his sound design. The aim is to determine wherein lies – and how major of a role plays – the dominant characteristic of David Lynch’s work, its versatility, as well as to explore how the environment, society, and different fields of art influenced the filmmaker in his own artistic expression through the language of sound. To further help answering those questions, an interview with a sound engineer, John Neff, was conducted, in which he talked about his experience of collaborating with David Lynch on several projects.
    [Show full text]
  • The Architecture of David Lynch Shannon Blake Skelton, [email protected]
    The architecture of David Lynch Shannon Blake Skelton, [email protected] Volume 6.1 (2017) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2017.157 | http://cinej.pitt.edu Book Review Richard Martin, The architecture of David Lynch. London: Bloomsbury, 2014. 234 pp. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. The architecture of David Lynch Shannon Blake Skelton Abstract: This book review considers Richard Martin’s 2014 The Architecture of David Lynch. The reviewer commends the author on the work’s intelligence and insightful considerations of Lynch’s use of space, place and architecture in his films. The book analyzes Lynch’s depictions of towns and cities, domicile spaces, roads and highways, performative spaces, and rooms. The final chapter recontextualizes Lynch’s Inland Empire within theories of space, place and architecture. With an impressive bibliography and 62 color plates of film stills, reproductions of paintings, and photographs of filming locations, the book is an important contribution to Lynch scholarship and engages film scholars to consider the dynamics of space, place and architecture in cinema. Keywords: Cinema, David Lynch, Architecture, Space, Design From the industrially ravaged neighborhood of Eraserhead and Joseph Merrick’s architectural models in The Elephant Man to the deceptively benign small town of Blue Velvet’s Lumberton, the mills of Twin Peaks and the sinister, liminal spaces of Los Angeles in Lost Highway and Mulholland Drive, David Lynch’s films work as unique explorations of place, space and architecture.
    [Show full text]
  • 6 September 2020 Twenty-Third Sunday in Ordinary Time Matthew 18:15-20
    6 September 2020 Twenty-Third Sunday in Ordinary Time Matthew 18:15-20 I remember being in Carson Park a couple years ago. I think I was cross country skiing there. I passed a man who was walking toward me. I was absorbed in my technique and exercise and so I did not hear him say hello. How do I know I did not hear him? Because shorty after I passed him by he yelled loudly and angrily, “I said ‘Hi’ to you!!” So, I threw a hello over my shoulder. Evidently this man was emotionally fragile, perhaps with a mental illness. Sometimes such ones are in better touch with what is really going on in the world and between people than the rest of us. He, for example, knew that he was somebody that should be acknowledged, that he needed relationship with other people, and that it is wrong, a sin, for one person to ignore another person. God has a similar passion for us to acknowledge one another and be at peace with each other. The prime analogy is that God is a parent and we God’s children. What parent’s heart would not grieve deeply when his or her children hate each other or won’t talk to each other? Today’s Gospel account shows us that God has a passion for reconciliation. It goes to great lengths to show us how to heal after we’ve been hurt by someone. Basically it’s a lot of work! If you’re the one who was hurt, you need to have the courage to confront the person who hurt you directly as a first step.
    [Show full text]
  • Gilles Deleuze En Dos Films De David Lynch
    MÀSTER D’ESTUDIS AVANÇATS EN HISTÒRIA DE L’ART TRABAJO DE FIN DE MÁSTER CURSO: 2019/2020 «DEL RECUERDO A LOS SUEÑOS» GILLES DELEUZE EN DOS FILMS DE DAVID LYNCH Apellidos y nombre: Romero López, Marta NIUB: 17512084 Tutor: Dr. José Enrique Monterde Lozoya 1 Índice 1. Introducción _____________________________________________________________ 3 2. Aproximación a Gilles Deleuze ______________________________________________ 6 2.1. Contra la imagen dogmática del pensamiento _____________________________ 6 2.2. El pensamiento cinematográfico deleuziano _____________________________ 14 2.2.1. La imagen-tiempo y la imagen-movimiento _________________________ 21 3. Aproximación a David Lynch _______________________________________________ 25 3.1. Artista renacentista posmoderno _______________________________________ 25 3.2. Características y etapas _____________________________________________ 37 3.3. Influencias: surrealismo, Romanticismo americano, noir __________________ 47 4. David Lynch y Gilles Deleuze ______________________________________________ 55 4.1. Tener una idea en cine _____________________________________________ 55 4.2. David Lynch y el pensamiento cinematográfico _________________________ 57 4.3. La presencia de la filosofía cinematográfica de Gilles Deleuze en la filmografía de David Lynch ____________________________________________ 63 4.4. Una aproximación a la imagen-recuerdo y al «sueño implicado» en Carretera perdida y Mulholland Drive ____________________________________________ 70 4.4.1. El fracaso de la imagen-recuerdo
    [Show full text]
  • David Lynch: Elephant Man (1980, 124 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
    October 30, 2018 (XXXVII:10) David Lynch: Elephant Man (1980, 124 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY David Lynch WRITING screenplay by Christopher De Vore, Eric Bergren, and David Lynch; Frederick Treves (book) (as Sir Frederick Treves), Ashley Montagu (in part on the book "The Elephant Man: A Study in Human Dignity") PRODUCED BY Stuart Cornfeld (executive producer), Jonathan Sanger (producer), and Mel Brooks (executive producer, uncredited) MUSIC John Morris CINEMATOGRAPHY Freddie Francis (director of photography) FILM EDITING Anne V. Coates PRODUCTION DESIGN Stuart Craig ART DIRECTION Robert Cartwright SET DECORATION Hugh Scaife COSTUME DESIGN Patricia Norris MAKEUP DEPARTMENT hairdressers: Paula Gillespie and Stephanie Kaye; makeup artists: Beryl Lerman and Michael Morris; makeup application: 'Elephant Man' / makeup supervisor: Wally Schneiderman; makeup creator: 'Elephant Man' / makeup designer: 'Elephant Man': Christopher Tucker The film received eight nominations at the 1981Academy Awards: Best Picture: Jonathan Sanger; Best Actor in a Leading Role: John Hurt; Best Director: David Lynch; Best Writing, Screenplay Based on Material from Another Medium: Christopher De Vore, Eric Bergren, David Lynch; Best Art Direction-Set Decoration: Stuart Craig, Robert Cartwright, Hugh Scaife; Best Costume Design: Patricia Norris; Best Film Editing: Anne V. Coates; Best Music, Original Score: John Morris. CAST Anthony Hopkins...Frederick Treves John Hurt...John Merrick Alfie Curtis...Milkman Anne Bancroft...Mrs. Kendal Bernadette Milnes...1st Fighting Woman John Gielgud...Carr Gomm Brenda Kempner...2nd Fighting Woman Wendy Hiller...Mothershead Carol Harrison ...Tart (as Carole Harrison) Freddie Jones ...Bytes Hugh Manning...Broadneck Michael Elphick...Night Porter Dennis Burgess...1st Committee Man Hannah Gordon...Mrs.
    [Show full text]
  • Catalogue Festival.Indd
    5ème édition FESTI-CINÉ MEAUX 27, 28 & 29 janvier 2012 RÉTROSPECTIVE CARTES BLANCHES CINÉ-CONCERT TABLE RONDE EXPOSITION Cinéma Majestic CCatalogueatalogue ffestival.inddestival.indd 1 118/01/20128/01/2012 002:06:272:06:27 LE MOT DE MONSIEUR LE MAIRE Cette 5ème édition du Festi- 6 Ciné Meaux est dédiée à la mémoire de PIERRE GAMET, ingénieur du son qui nous avait rendu visite lors de no- tre 4ème édition en présence de Jean-Paul Rappeneau. Il avait reçu 4 Césars du meilleur son, notamment pour Cyrano de Bergerac et Le Hussard sur le toit. Pierre Gamet nous a quittés prématurément le 7 janvier 2012. L’ÉQUIPE DU CINÉ MEAUX CLUB PRÉSIDENTS D’HONNEUR Bertrand Tavernier PRÉSIDENT Philippe Torreton Jérôme Tisserand ARRAIN D HONNEUR VICE-PRÉSIDENT P ’ Noé Merle N.T. Binh SECRÉTAIRE CINÉ MEAUX CLUB Ludovic Raigneau Association loi 1901 SECRÉTAIRE ADJOINTE Immatriculée 11677 Sandrine Périgeat-Lorin Numéro SIRET : 492 651 203 00019 TRÉSORIÈRE Déclaration en préfecture : 2 août 1999 Dorothy Malherbe Publication au Journal offi ciel : 21 août 1999 TRÉSORIER ADJOINT Siège social : 32, impasse de la Source Aurélien Louvet 77100 Meaux ANIMATEUR Téléphone : 06.35.27.13.33 Baptiste Roux [email protected] FONDATEUR http://cinemeaux.wordpress.com/ Maxence Charpentier Ciné Meaux Club sur Facebook 2 CCatalogueatalogue ffestival.inddestival.indd 2 118/01/20128/01/2012 002:06:292:06:29 LLEE MMOTOT DDEE MOONSIEURNSIEUR LLEE MAAIREIRE Madame, Mademoiselle, Monsieur, Je suis très heureux de vous présenter le catalogue du 5ème Festi-Ciné Meaux, ren- dez-vous désormais incontournable dans la vie culturelle de notre ville, auquel je suis particulièrement attaché.
    [Show full text]
  • 1 Authorship and the Films of David Lynch
    1 Authorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood. Antony Todd. London, New York: I.B. Tauris, 2012 (224 pages). ISBN: 9781848855809. A Review by Deborah Mellamphy, University College Cork The death of Andrew Sarris in 2012 resurrected debates surrounding the importance and role of authorship in contemporary film theory and, despite the growth of industry studies and the dominance of poststructuralism and postmodern theory in recent years, the popularity of auteur studies continues to grow. The inherent reductionism of the auteur approach has justifiably led to the rejection of the strictly romantic ideal of the author genius and a revision of the auteur’s image and role, yet the auteur continues to be relevant within contemporary film production and culture. Recent studies including Lucy Fischer’s Body Double: The Author Incarnate in the Cinema (2012), Arved Ashby’s Popular Music and the New Auteur: Visionary Filmmakers After MTV (2013), and Cecilia Sayad’s Performing Authorship: Self- Inscription and Corporeality in the Cinema (2013) illustrate the continuing scholarly significance of auteur debates within contemporary cinema and media. Discussions on David Lynch as auteur are not new. Since the release of Eraserhead (1976), scholars have considered his highly idiosyncratic cinema in terms of auteur theories. Erica Sheen and Annette Davison’s The Cinema of David Lynch: American Dreams, Nightmare Visions (2004), Todd McGowan’s The Impossible David Lynch (2007), and Justus Nieland’s David Lynch (2012) have all focused on the director’s personal vision. Antony Todd locates his study, Authorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood, within a paradigm that acknowledges the limitations of the romanticised view both of the auteur, and of Lynch, whilst simultaneously acknowledging the importance of the figure.
    [Show full text]
  • Pastor Joe's Movie Guide
    Abiding at the Movies “The Straight Story” (1999) imdb Rating 8.0/10 G | 1h 52min | Biography, Drama | 3 November 1999 (France) Based on true story, an old man makes a long journey by lawnmower to mend his relationship with an ill brother. Director: David Lynch Writers: John Roach, Mary Sweeney Stars: Richard Farnsworth, Sissy Spacek, Jane Galloway Heitz Available on: Disney, Prime Video, Vudu “Nothing Runs Likes a Deere” IMDB User Review: tfrizzell12 May 2004 A beautiful and very emotional movie experience as Oscar-nominee Richard Farnsworth (playing the real-life Alvin Straight) decides to travel on his old riding John Deere mower from Iowa to Wisconsin to see his ailing brother (Harry Dean Stanton) because his driver's license has been revoked, he doesn't like public transportation and he has no one else to drive him. The two brothers have not been on speaking terms for many years and the clock is literally ticking on one last chance for them to see one another and hopefully make amends for past mistakes. Sissy Spacek gives one of her finest performances as Farnsworth's slightly mentally disabled daughter and the supporting players are all real and heartfelt caricatures of America's heartland. Film- maker David Lynch quietly and methodically creates a G-rated family film that has deep messages for people of all ages and backgrounds. He paints a picture of America where the old ways of life are still the most important. Farnsworth was in excruciating pain throughout filming due to terminal cancer and terrible arthritis. Sadly, this would be his final performance as he died after his Oscar nod.
    [Show full text]