The Feeling of 'Mulholland Drive'

Favourite films are a weird thing. I always struggle to answer the typical question levied at any fans of film. How do you judge your favourite?  What you consider the best film? A film which powerfully resonates with you? A hella ambitious film? A film that is masterfully executed?

I think I've finally managed to bypass this difficult task, thanks to an odd wee man from Missoula, Montana. Watching David Lynch's 'Mulholland Drive' for the first time in the summer of last year, I felt a way that I've never felt before. It's almost indescribable (some have gone for the feeling of 'uncanniness'). In his efforts to use the medium of film to create a mood above all else, 'Mulholland Drive' seems like it seeps straight into the subconscious. You're experiencing the noir of twisted Hollywood, as opposed to watching it.

That sounded super pretentious. Normally, if someone said that to me, it would be met with a scoff. But this is a film that lingered with me long after the credits. In fact, when the film first finished, I was more angry than anything else. I had worked hard over the past 2 hours and 40 minutes to assemble the various jigsaw pieces of the plot. Instead, strands were dropped, became irrelevant, or changed beyond compare. Even in my confusion, I knew I had watched a masterpiece. I could feel it.

The problem, and it's a problem that some reasonably can't or don't want to overcome, is that you need to not intellectualise the film. Don't get me wrong, it's a very clever film - particularly in the astonishing ways the two worlds of the film parallel each other - but it's not clever in a rational sense. You're in David's dreamland, and a necessity to enjoying it is leaving your predisposed idea of what a film should be at the turn off to Mulholland Drive. It needs to be wallowed in.

To me, Lynch considers plot just another tool in his mood-kit, and not the definitive factor as it is in most films. Consider the moment Rita in her sleep necessitates the trip to Club Silencio. It comes from nowhere, but the actual scene symbolises something hugely significant in the wider context of the film. Speaking of Club Silencio, the sequence that takes place there is one of the most mesmerising pieces of cinema I have ever seen. When I watched it for the first time, I was transfixed. It made no sense yet in terms of the film I was watching, but it was a surreal, beautiful sensual experience that I found weirdly profound. I thought of little else the following days.

It's in the film's favour that the traditional elements are splendid also. Naomi Watt and Laura Harring give dynamite performances, Angelo Badalamenti's score has the right amount of grit, there are moments of wonderfully dark humour, and the cinematography lends itself perfectly to the sordid, dreamscape LA that Lynch aimed for.

David Lynch works best when confined. The fantastically bizarre 'Twin Peaks' had to fit the TV format, 'Blue Velvet' had a simple A to B story, and 'Mulholland' is two-thirds a dropped TV pilot. The one-third he had to play with to make it a complete movie led to the game-changing narrative that makes the film what it is. Without any confines, Lynch made 'Inland Empire', which has memorable sequences but lets go of narrative completely too early and, for me, flies off the rails. The critics which claim his surrealism is pointless and reductive have good ammunition in 'Inland Empire', but 'Mulholland Drive' is different. It is a completely unique feeling, and that is why it's my favourite film.

Plus, hot girls making out!

If you want more Lynch stuff, check out part of my english dissertation focussing on 'Blue Velvet', which I posted as part of BEDN!

Hope I didn't spoil anything for you!

Tara x

Film Rewind of 2012

Ohai there!

Happy New Year one and all! Is that still socially acceptable to say to people on the 15th of January? Who cares?! #joelo

I honestly believe that 2012 was an exceptional year for film. With the opening of Mareel, Shetland's new cinema and music venue, and hearty abuse of my loyalty card, I actually got to see all those exceptional films for once as well! As opposed to other years, where I could only follow the cinematic climate in the vein of that lad who actually doesn't care about football looks up the scores with fervour just in case any unexpected banter arises. You may wonder why a 'review of the year' post is appearing so late into 2013. Laziness? NO! How very dare you suggest such a thing? It was actually for research purposes. I wanted to see 'Life of Pi', technically a 2012 release, before compiling a list of my top 5 films of the year. I did it for you!

Richard Parker, despite his incredible CGI-ness, did not make the cut.

So what did? In no particular order, here's my crème de la crème...

1. 'The Perks of Being a Wallflower'

For extended gushing on what might secretly be my favourite film, see here.

2. 'The Dark Knight Rises'

With Christopher Nolan at the helm, and featuring performances by Marion Cotillard, Marion Cotillard,  and Marion Cotillard, it was always going to be good. But boy-oh was this blockbuster at its very best. As with 'Inception', Nolan masterfully weaves emotion and intellect - in this case, a weirdly right-wing political slant on the occupy movement - into the edge-of-your-seat action set pieces we've come to expect (I'm looking at you obliterated pitch). Tom Hardy's Bane is a worthy foe for the final installment and is finely supported by a pulsating score from the always reliable Hans Zimmer. Anne Hathaway, Joseph Gordon-Levitt, and Michael Caine all give excellent turns, with Hathaway's Selina Kyle a particular stand-out. Seeing it in IMAX (the real future) nearly blew my face off. Take note folks - this is how you make epics.

3. 'The Imposter'

Sometimes real life is all you need to make a good film. This mind-bending, little-seen film tells the true story of a French con-man who impersonated a missing young boy who disappeared years before. What is wonderful about the film is how it splices in talking heads with the actual people involved with ultra-stylish dramatic recreations of events as they happened. For most of the time we follow the narrative of the con-man involved, but when we shift perspective to the other people involved, thrilling twists appear in abundance. It's saying something of the film's calibre that leaving the movie you still have absolutely no idea who to trust - it has offered you the clues, you make up your own mind.

4. 'Moonrise Kingdom'

'Moonrise Kingdom' just reminds me why I love cinema. It boasts an originality like which I've seen little else. The tone manages to be cute without seeming cute, and this is credited to the film's surreal dialogue, excellent performances and immaculate attention to artistic detail - the setting, costume, props, and stylistic quirks all mesh together like a well-oiled machine, resulting in an atmosphere of complete joy. When Tilda Swinton appears playing the character 'Social Work', you don't roll your eyes, you admire her cute blue bonnet and snarky one-liners. Add in a compelling coming-of-age story and it ticks all my boxes. Moonrise Kingdom really is a world of its own, and one you won't want to leave. And when the ushers eventually drag you from the cinema, it'll be with an enormous grin on your face.

5. 'The Cabin in the Woods'

There's not a lot that would make me go and see a horror film. Joss Whedon's name attached will do the trick, however. Witty, dark, and inventive, 'Cabin in the Woods' is a breath of fresh air to the genre. It manages to have its cake and eat it too, acting as a satire of all things slasher while working it in to its satisfyingly twisty plot. Mainly though, it's just really good fun - particularly Fran Kranz's performance as a paranoid stoner - and constantly messes with your expectations. I reckon it'll be a staple party film for years to come! Plus there's a Sigourney Weaver cameo, so that's a mark of quality right there.

-

Honorable Mentions
'Shame', 'Untouchable', 'The Master', 'Sightseers', 'Rust and Bone', 'Beasts of the Southern Wild', 'Silver Linings Playbook', 'Skyfall' and 'Nostalgia for the Light'.

Biggest Disappointment - 'Brave'
Pixar get your act together.

Most Overrated - 'Looper'
See here.

Best Scenes - "The First Processing" in 'The Master'/"Writing Ruby as She Watches" in 'Ruby Sparks'
Joaquin Phoenix and PSH deserve their Oscars for that scene alone./The thematic premise of the film laid out in an exceptionally powerful way (I recommend checking out this underrated film!).

Film I Least Enjoyed - 'Great Expectations'
Ralph Fiennes plays the Hitcher from 'Mighty Boosh' (thanks Lisa!), and Jeremy Irvine's hair is the most compelling character. Slow... slow... slow... RUSHED EXPOSITION! slow... slow... Helena goes on fire! slow... slow... did the Hitcher just die? "I wanna go back to dat farm!" credits...

Best Openings - 'Untouchable'/'The Dark Knight Rises'
Perfectly sets the tone for the film in a way that draws you in immediately/That opening plane sequence HOLY GOD!

And of course, the most important question...

Did 'Prometheus' work? - Yes
Two words - alien cesarean.

Tara x

BMDN - Everything Ends (Nov 30th)

"Too much of a good thing can be wonderful."

Ohai there!

I was thinking about a novel way to end this month's blogging adventures, contemplating a something along the lines of 'The Best Finales Ever', or anything to do with stuff finishing. Instead though, I think I just want to reflect on what's been an interesting month.

In the true spirit of BEDM, I present you with November's final blog on the 1st of December! It may have been haphazard and inconsistent at times, but for me blogging every day this month has been an enriching experience. Think about what we've covered! We've talked pop culture oddities - Megan Fox's hidden passion, 'RuPaul's Drag Race', Derren Brown's 'Apocalypse', a surprisingly honest acceptance speech. We've talked music - Lana Del Rey, Woodkid, Lana Del Rey again... OK, mainly Lana Del Rey. And oh boy have we talked film! Skyfall, 'Looper', 'Untouchable', 'Drive',  'Blue Velvet', 'Bring It On' and my beloved 'Perks of Being a Wallflower', on which I gushed considerably.

But for all that I've enjoyed talking about the things I'm passionate about (maybe not as passionately as Megan Fox), for me, I think the real reward has been talking about myself...

Not so much because I crave attention (though read blogging everyday how you like), but because it's all been quite cathartic for me. Talking about growing up, national identity, honesty, and even my inability to take compliments has led me to reflect on where I used to be, where I am now, and where I want to go next. Thank you for being a part of that.

I really do mean that. This would have been half the fun it was had people not responded and supported it. I'm glad that people have shown agreement to what I've said, as well as challenging my opinions - how boring would it be if we all felt the same about things?

I hope it's worked the other way as well! I hope that this blog has made you think about things in your own lives. I hope you said yes to something you wouldn't have before (as my friend Martha encouraged me to do when I was considering leaving school - best decision!). I hope everyone starts writing about things now, not just because vlogs are so 2009, but because you'll think about very unexpected things. I can only recommend this as a wholly worthwhile experience.

When I was talking about hipsters, receiving pearls of wisdom, or discussing, in believe it or not the most popular blog of the month, dungeons and dragons, it sometimes felt like too much. I began to flag about halfway into the month. But whenever I was exhausted, and lacked the motivation to put my all into this, I just remembered one of my gran's favourite sayings... Too much of a good thing can be wonderful.

And it was. You'll be hearing from me soon...

Tara x

BMDN - Lana Revisited: The Paradise Edition (Nov 28th)

Ohai there!

Hows life? Sweet like cinnamon? Like a fuckin' dream you're living in? Yep, we're talking LDR again, but for two good reasons!

Firstly, I received this lengthy post from my friend Chris, a fan of Lana Del Rey who indirectly broke my last 'Born To Die' when he played the song 'Without You' (more on that later). It was in response to this blog that I posted on November 9th, discussing my thoughts on 'flash in the pan' artist Lana Del Rey. Here's what he posted:

"Ok! I've got Kate Nash on, I'm in my heels and I'm ready for Lana Del Ray discussions! The main point I wanna draw attention to is that feminism is about equality. Specifically important to my argument is that equality means choice. 

The way I read Lana's album is that she desperately (perhaps pathetically) is in love with some dude (or the idea of some dude). A dude who works all day, comes home tired and who she looks after. She wants to dedicate her life to being with him and will do anything to please, to help etc. This is easier to understand when he's some labourer (i.e. in Video Games, this is what I imagine).

I can see why you'd think of Video Games as a clever wink to view on women, but I believe you're wrong. I believe Lana LOVES her life on the song. She loves to watch the dude play video games. She loves doing anything he does ("tell me all the things you wanna do") and is more than willing to dedicate her life to be with him. She doesn't think this is a waste ("[life is] only worth living if somebody is loving you") and I'm not convinced that she is wrong. If the meaning of your life is to dedicate it to someone and for there to be mutual love, then fine; sounds better than maths, eh? :p This is her choice and she can't possibly express misogyny via individual choice.

Also, I think the only reason Video Games is sad is because she hasn't found the man that she believes can bring her happiness (via dependance)

Ok. I'm maybe a little drunk but if you get my jist you can now extend this to the rest of her album. Except, she's rich, probs has loads of cool rich friend etc.

So, if you extend this idea to the rich and famous it leads to many problems! Your man doesn't need looking after and this leads to materialism, attention seeking and probs sadness. This defines many of her songs from her album.

Now I'm bored and tired. I think I stopped my argument earlier than I hoped. But basically, my thoughts are:

Dependance is a (not-that-crazy and certainly not individually sexist) choice.
Extension when rich => sadness.

Hmmmmmm... this is probs all poo."

Since I very much like it when people respond to my blog, I of course cannot pass up the chance to return to everyone's favourite Valley Girl once more.

I actually agree with a lot with what is said (not poo at all!), yet I feel your argument very openly undermines itself. I think you are right to say that equality means choice. I even agree that satisfaction can be found - and is found for a lot of people - in looking after others. It's a noble thing to do. However in the case of the Lana Del Rey character of the album, I feel she has disregarded herself in search of this. You're right, it is pathetic the amount she is devoted to him and how he doesn't reciprocate - it's not healthy for her. Though instead of acknowledging that she knows living this way isn't right, she maintains her position. She basically says living underneath a man is acceptable for her, and that message is what I find misogynistic. In my limited knowledge of the feminist movement, I'm pretty sure empowerment is a big thing! And that's before we counter in the fact she's loaded...

Then we reach a place of 'first world problems'. Oh no Lana! You're unsatisfied with the president boinking you!? Why don't you get a bad boy to take you downtown on his motorcycle instead? Oh, now you miss the rich older men objectifying you and buying you diamonds? I have a solution: You should definitely write an album of morbid songs about it. Then we shall all sympathise and buy it because you sound vaguely gangsta!

OK, I don't hate her that much. But you can see it doesn't take a lot to get you to that point. You have to take her with a pinch of salt to enjoy her music. Basically, dig the atmosphere but ignore the lyrics. It's a similar on the EP attached to the re-release of 'Born To Die', which I listened to because I'm dedicated to the blog! This is the second reason why I'm back on the Del Rey thought train.

Dubbed 'Born To Die - The Paradise Edition', the extension mostly offers more of the same, with a couple notable songs which suggest positive new directions. In general, the songs surge with a bit more drive despite the fact she's still riddled with the same problematic character. Her new single 'Ride' is enjoyable enough if you're into her already (though perhaps it's a bit too vocally challenging on the low parts), but the standouts come in the finale. 'Yayo' is a weird ethereal little song that suits her a lot, and while it's still about her running off with a bad boy, it's to escape the broken life she currently leads ("You have to take me now/From this dark trailer park/Life now"). It even has quite nice other lyrics! I enjoy "Hello Heaven/You are a tunnel lined with yellow lights/On a dark night" especially. 'Bel Air' has a catchy piano hook that masks a hidden depth, and is a promising end to a samey EP.

Of course, I hate a lot of it. The first line in 'Without You' is what put me off Lana Del Rey in the first place. "Everything I want I have/Money, notoriety, and rivieras" epitomises everything I hate about her. But evidently she fascinates me. I don't know what it is. I think it's to do with the potential she has to be brilliant, but the fact she squanders it with her persona and underdeveloped vocals. Her style may be what makes her for a lot of people, but I think it's what is holding her back.

Now, let us never talk of Lana Del Rey again.

Tara x

BMDN - 'The Perks of Being a Wallflower' Review (Nov 27th)

Ohai there!

When the marketing folks at Summit Entertainment first sat down and watched 'The Perks of Being a Wallflower', Stephen Chbosky's film adaptation of his cult young adult novel, I'm not sure they knew what to do. What they had was a gem of a film that probably soared above their expectations of a precocious indie flick. A comedy drama about a 15-year-old dealing with extreme social anxiety problems and making friends with a flamboyantly gay senior and his step-sister, herself battling low self-esteem, is very understandably hard to market. So what they did was, on reflection, very clever indeed. The film was presented in the trailer and on buses as a 'Juno'-esque 'outsiders coming together' piece of Hollywood cheese that the studio knew people would go and watch. They then let the reviewers bring in the rest of the audience that would assume the film wasn't for them. And of course, having Emma Watson didn't hurt...

I must precede the rest of this review by saying that I absolutely love the film and its big earnest heart to bits, and it begins and ends with the three lead performances. Logan Lerman as protagonist Charlie is endearing from the very first scene, playing awkward innocence to perfection. His performance as he discovers a new social world, all the while fighting inner turmoil, is never anything but completely compelling. There's no sign that her time at Hogwarts has badly affected Emma Watson either, as both her grasp of character and American accent convince greatly. She manages to poignantly hint at the extent of Sam's bruises, and the chemistry between herself and Charlie is tender and somehow feels unique - despite the love interest long being a genre staple. And then there's Ezra Miller. Best known for playing the psychopathic titular character in Lynne Ramsay's 'We Need To Talk About Kevin', he could not be further away from that role, always having a zinger to toss into the mix to uplift situations - and the film. Miller's interpretation of Patrick is the perfect final cog in the trio, and his ability to mix high comedy with a grounded character is what helps the film hit its unique tone.

What is particularly impressive about 'The Perks of Being a Wallflower' is that it is always dancing on the edge of cliché and coming out triumphant. It shouldn't work - first loves, teen suicide, abuse, outcasts - but it just does. It's all because the movie is clearly a labour of love from director Chbosky, and he truly understands what being a teenager is like. Even the takes on things such as Patrick's homosexuality seem refreshing. What lines seem like clunkers in trailer ("Let's go be psychos together!"/"We accept the love we think we deserve.") ring true when contexualised and rolling off the tongues of the fine cast. 

The film also has a wicked sense of humour - when you're not being touched, you're laughing. They're not afraid to go dark for laughs (a speech about Charlie wanting terminal cancer is blackly hilarious), and the repartee between the characters is always tinged in a gentle humour, especially when Patrick is around. It goes a long way in winning over the audience to invest in the more serious moments. During the second screening of the film I went to, the audience were even trying to laugh at the emotional moments, before the repercussions of them became apparent. The contrast between light and dark make the emotions felt by the viewer even more powerful.

And boy, does the film have an emotional gut punch towards the end. For someone who has read the book, and who knows the twist the film alludes to throughout, I felt a genuine sense of dread. Said twist comes off better in the film than in the book in this reviewers opinion, and when the moment comes, I was not the only person in the cinema shedding a tear or fifteen. That's a testament to the quality of the film. On the other end of the spectrum, the film has several moments of cinematic euphoria (I'm looking at you homecoming dance, and tunnel sequences). The movie works primarily as a visceral experience for the viewer, and since it's about teens and their heightened emotions, that's the way it should be.

If I really wanted to I could quibble. Some of the lines, while better in the film than the trailer, still come off a little clunky. Also, it can sometimes feel there's one trauma too many, and the final twist didn't hit me quite as hard on a second viewing (read: I didn't weep).

That's all a little redundant however, because 'The Perks of Being a Wallflower' is a beautiful film. This kind of thing won't seem like a lot of people's cup of tea, but the movie just resonates with you so strongly. So I cheer 'OMG best thing ever' along with the rest of the target demographic, and for those older folks, I'm sure there's a warm nostalgia to be found in Charlie's coming-of-age. Brilliant stuff.

*****

Tara x

BMDN - What's Your Nationality? (Nov 26th)

(Edits have been made to this post to reflect a change of opinion on reflection, and the fact that I sounded like an arse hole in the way I expressed that opinion. I apologise to anyone I may have offended.)

Ohai there!

Today I'm going to talk about identity, and not through films for once! Though just for the sake of dropping some films in here, I had a hungover watch of this gem recently:

COMEDY GOLD. An instant classic. Keeping my eyes peeled for the direct-to-video sequels: 'Bring It On Again', 'Bring It On: All or Nothing', 'Bring It On: In It to Win It', and 'Bring It On: Fight to the Finish'. But let us depart.

People often ask both officially and unofficially what nationality you are.  And there always seems to be three pertinent answers for me to choose from: Scottish, British or Shetland. The other larger options such as European or 'citizen of the world' sound too vague or hippyish to be taken seriously by anyone.

I must say I do have an answer to this. My go to is Scottish, and here's why...

Though I was born in Shetland, my parents are from Glasgow and Dundee, two major Scottish cities. I never grew up with a Shetland speaker in my house, and while my parents were decently integrated into the Shetland community (my dad being a bartender helped), I feel me being a full-blown Shetlander is sort of hindered by the fact I'm not a Jamieson or a Moncrieff or an Irvine.

I love where I'm from - the fellow Shetlanders I associate with are nothing but kind, accepting and fun. I do feel there is a certain exclusivity that exists within a small subset of people in the Shetland community that I find off-putting. Because my family's name doesn't go back generations, I'm never going to get an automatic invite to an Up-Helly-Aa hall or nip up to Skeld for some red tins. A lot of me not feeling solely a Shetlander is I think also to do with my stereotyped view of who a Shetlander is, which is my misgiving, not the misgiving of the actual populace. I don't know what it is, but when I hear 'Shetlander', I think to fisherman and crofters (nothing wrong with this, just not me), not the other Shetlanders I see on a day-to-day basis. Perhaps someone could enlighten me as to why I might feel that way, a way which I know is inaccurate? Am I putting too much weight on history when it comes to national identity?

Exclusivity did come up when we made the documentary about poverty, social exclusion and inequality in Shetland earlier this year:

So that's why I don't feel like a Shetlander, despite how great Shetland is in general. The reason I don't feel British is largely political. We live under a government at the moment whose ideals I strongly disagree with, and I feel a British identity ties me to those ideals, as well as other things I disapprove of like the monarchy. I don't love the world's associations with being typically British, therefore I don't feel British.

But I do feel Scottish. It's a happy medium between the small and the broad. Scotland has this grit, and unwavering patriotism no matter what state we find ourselves in that I find very charming. It's your associations (and maybe stereotypes) with being a certain nationality that is the definitive factor for me. Home is where your heart is!

So while I may not be this guy...

...I do feel like a true Scot.

Tara x

The inspiration for this came from my friend Louise who's doing a project on national identity. If anyone that's not her quotes me for the same project, I will sue! And find out where you live.

BMDN - It's Like Christmas Came Early (Nov 23rd)

Ohai there!

I'm feeling awfully merry today. I don't know what it is, but I just want to sing! I think it might be something adrighdl... something sdfgjhdfg.... something to do with...

ON THE FIRST DAY OF CHRISTMAS, MY TRUE LOVE SAID TO ME

Hold it one hot second. It's the 23rd of November. Why am I hearing the faint bells of a certain bearded gentlemen? Because we are understandably obsessed with Christmas as a country, and I feel that it is because of this, we will ruin it for ourselves.

Imagine the holiday as the epicentre of all joy in the world. It is incredibly concentrated on one momentous day, with a serious glow attached to its two neighbours. Now imagine that epicentre being yanked and yanked and yanked in all directions until the joy is so spread out that nobody can even remember why we're supposed to be happy anymore.

I'm really not a Scrooge when it comes to xmas. I love it just as much as the next person: the presents, family coming together, great food, the presents. My 6-year-old self devolved into hysterical cackling on the floor on Christmas Eve because I was so excited for Santa's arrival! I'm just concerned we're gonna make it not as special anymore at this rate. I suppose no matter if we started getting ready for festivities in May, no one could truly ruin Christmas. I even understand why people think starting celebrations earlier would add morale to what are trying times at the moment. If only it weren't just to sell a stack load of shit.

Supermarkets wait at the starting line on the 31st of October, waiting for the pesky monsters to shimmy on by so they can set up consumerist shrines to ol' Saint Nic. It makes me feel sad that they're exploiting such a joyous time for mucho dinero, but even worse that I have to see reindeer trying to sell acer aspires on the 5th of November (leave it to Megan Fox). This time of year is all about warmth, and I don't feel the heat radiating from Tesco's cold heart.

Despite my hypocritical anti-capitalist ramblings, and the fact that we're not even in the 12th month yet, I can't deny my excitement for Christmas. I know it's going to be wonderful. It always is. Play us out Ella...

Tara x

31 days till Christmas/my 18th... oh, did I forget to mention I'm the Messiah. JC signing out.