Posts Tagged “7.3”

2008

July 21, 2009
Press
USA
English
97 Minutes — August 21, 2009
Documentary / Music
Davis Guggenheim [Relativity; NYPD Blue; ER; The Shield; Deadwood; An Inconvenient Truth]

Jimmy Page. The Edge. Jack White.

Guitar players have no reason to read any further. Take the day off work or school, and find the loudest movie theater you can. Go ahead. The film was made for you. It’s like “guitar porn.”

Led Zeppelin fans, I’m about to say something to you that will make you stop reading and head to your nearest theater. Non-fans probably won’t know why it’s a huge deal when I tell you that Jimmy Page will take us to see the hallway / staircase where John Bonham recorded his “WHEN THE LEVEE BREAKS” drum parts. Off you go, now.

Jack White fans. Unfortunately, due to my, er, age, I need to report that I have absolutely no frame of reference for White or The White Stripes or any of the other half-dozen bands he plays with.

And finally, for U2 fans, I’ll give you two reasons: 1) You will see “The Bulletin Board” at Mount Temple Comprehensive School; and 2) In Edge’s kitchen, he will put an old cassette in a player, mutter “not sure what this is”, and we will hear a 4-track recording of an early run through of “WHERE THE STREETS HAVE NO NAME” complete with extra high-hat, and Bono in the background counting out “4-5-6! 4-5-6!” to the rest of the band trying to figure out Edge’s rhythm structure. A perfect edit takes us whooshing to the Slane Elevation show just as the lights come on, and as I sat there in open-mouthed amazement, I realized that none of us have seen that show on a big screen before.

If you’re a student of musical history, the director, Davis Guggenheim, could scarcely have found three better guitarists to follow. James Patrick Page is 65; David Howell Evans is 47; and John Anthony Gillis (more on that name later) is 34. Page was there for the very birth of heavy metal, 60s Prog Rock, the era of the sessions guitar player, and his band had their own plane, “The Starship”, some 30 years before U2’s Elevation Air took off. Edge proves to be a good tour guide on the political influence of music, how punk rock made attitude as important as musicianship, and the cost of sonic perfection. White leads us through a depressed Detroit, hearing in blues music from the 1930s an expression at the anger he felt in the late 1980s when you were looked down on if you could play an instrument.

I need to get my own prejudices out of the way.

1) U2 is my favorite band. I’ve seen them more than 50 times, my first show being in 1984 in San Francisco. I have never waited for an autograph from any other celebrity of any kind, but I have waited for the band, both backstage, and at hotels. When I talk to close friends, many of whom I’ve met because of our love of the band, we still marvel that somehow, way back, we chose the “right” band to fall in love with. My first show was 25 years ago, and I’ll be seeing them again in October. Same lineup. Bigger stadium. Still the biggest band in the world. One of the things I love about them is that they are, by far, the best example of a band being larger than the sum of its parts. To a ridiculous degree. Any one of the four of them on their own or in a different band would probably not inspire any of the adoration they now claim. Except, maybe Edge.

2) John Bonham died when I was 13 years old. People sometimes play that “What single concert do you wish you could have attended?” game. Music fans answer all over the place, Elvis’s ’68 Comeback Special, Beatles on Ed Sullivan or at Shea Stadium, The Who when Keith Moon was alive, that Motown TV show where Michael Jackson first moonwalked, Springsteen Born In The USA Tour at the Meadowlands, the Nirvana Unplugged show. U2 fans usually say Red Rocks or Point Depot New Year’s Eve or Live Aid. If I could go back in time, I’d go to a Led Zeppelin concert from 1977 or so. I’m not even sure it’d be a good show. Back then, people sat in chairs to listen to the 20-minute laser-aided compositions, while inhaling god-knows-what. (In March, 1975, they played a version of “DAZED AND CONFUSED” that lasted a butt-numbing 43 minutes.) But to just be in the room with them. What was that like? I’ve been in the room with U2 before and that was pretty cool. Much like U2 is greater than the sum of its parts, Led Zeppelin is probably not-quite-as-great as the sum of its parts. Because those parts are spectacular. John Paul Jones is a far better bassist (and keyboard player) than Adam Clayton will ever be. Bono has only recently challenged Robert Plant, in his prime, as a vocalist (though not lyricist—Bono wins there.) And John Henry Bonham is the best drummer that will ever live. Period. End of sentence. I had a Zeppelin poster over my bed until I graduated from high school. There is one important thing that Led Zeppelin and U2 have in common. When John Bonham died, there was never even a conversation that the band would go on without him. Can you imagine three of the members of U2 touring with anyone else but the fourth? Me neither.

3) I probably have one White Stripes album. As I went in to IT MIGHT GET LOUD, I thought that Jack was one of those “trying-really-hard-to-appear-to-not-be-trying-really-hard-to-be-cool kids. Why the hat, why the bowtie, why the old-fashioned car, why live in Tennessee? I must say I came out feeling the most differently about him, as he was the one I knew the least about. He also has the most to overcome. Page, Edge, White. One of these things is not like the others. Yet.

The conceit of the film is that three guitarists from different eras, with different backgrounds, and different styles, would come together in a warehouse to talk about their love of the guitar and music in general. And they’re bringing their guitars (and guitar techs—Dallas Shoo gets plenty of screen time.) This is referred to in the press notes as “The Summit”. Seeing three professional guitarists discuss their craft would probably be compelling enough, even if two of them weren’t my favorites. But this Summit is only a small portion of the film, and not the most exciting part. For those viewers looking forward to a concert recital by the three men, you may be disappointed.

We will spend a great deal of time with each of the three individually, in hometowns, guitar shops, next to record players, surrounded by amps, and in the backs of cars as they each take us on their own musical journey. While this can be seen as self-indulgent on Behind The Music, none of them come across as conceited. Which is weird because they’re superstar guitarists. The difference here, I think, is that they are reminiscing on behalf of the guitar. The participants know that the guitar itself is the star, not the player. We will visit places and hear songs important to the courtship of each man and his guitar. This isn’t a film about stardom; it’s a film about musicians.

It might be a good time to point out that we will never really hear one of the three say that they’ve been influenced by either of the other two. Edge won’t tell stories of playing along with Zeppelin records, White won’t even acknowledge that the other two exist, claiming instead to study early 20th Century Blues. But each of them will, to an incredible degree, give praise to dozens of players who came before them.

We get no clue as to whether or not the three men even like each other’s music. And this proves to be a help to the film, not a hindrance. There is no hero worship here (except by us and the director) and the three men have such different styles that none of them could be accused of stealing from either of the others. But it also leaves the meeting between the three as sort of cold. This was the first time any of the three had met, and it didn’t appear to be the beginning of any musical collaborations. In fact, I don’t think there is any way in hell that the three of them went out for a beer afterwards. I’d be surprised if any of them had spoken with any of the others since the film was completed. Again, the guitar is the focus, not the individual.

The credit sequence at the beginning tells you just about all you need to know about the direction the film will be traveling. With titles that mimic a guitar font somehow, we are treated to close-ups of shiny frets, razor sharp strings, and smooth, polished curves of guitars. If instruments can be made into porn, Guggenheim has done it. A Page voiceover says, “caress it like a woman,” and damned if the director didn’t sex-up the instrument with loving angles.

The first scenes are of Jack White on what I assume to be his Tennessee farm. A cow moos as he picks up a single string, a coke bottle, and a piece of wood. This MacGyver move results in a quick slide-guitar performance. This build-your-own aesthetic is something that is very important to Jack White.

We next see the three men headed towards The Summit. White and Page are in the back of town cars, while U2 fans will be proud to watch Edge drive his own Mercedes to the meeting. In Los Angeles, Edge has the home court advantage. The three men are probably being prodded from off camera about what they expect to happen. White sarcastically says “we’ll probably have a fistfight” and “I’m hoping to steal everything they know about guitar playing.” Edge is excited and hopeful. Page says “we’re bringing our guitars, so there’s no telling what could happen” and then says of Edge, “he is a sonic architect”, which is as good a description as I’ve ever heard for him.

Since this is basically a documentary about guitars, drama must be manufactured and we see a super-slow-motion shot of the three men, in unison, walking up three different stairs to the raised platform where the summit will take place. Begin and Sadat wish they would have been photographed as lovingly. Hands are extended, still in slow-motion, smiles are exchanged, and we leave the warehouse and go back in time.

Jack White is all about “overcoming” a musical instrument in order to get it to do what you want. He is also about cultivating an image. It’s no mistake that the White Stripes only used red, white, and black—White got the idea from both the Coca-Cola logo and the Nazi flag. White is sometimes a hard man to like. The biographical sketch we get in this film probably requires some fact-checkers before we take it as truth. He was the youngest of ten kids, growing up outside of Detroit, under poor circumstances. He had a seven by seven foot bedroom and in that bedroom were two drum kits, a reel-to-reel, and all his records. He claims to have slept on a mat laying diagonally between bass drums. Unlike the other two, White’s growing up story in the film is animated. We don’t see a childhood home, and in fact, White doesn’t give us a tour of many important places to him. At the time, he played drums because two of his older brothers were already playing guitar. Also, White says, “I have no interest in playing guitar because everyone else is.” He gets a job in an upholstery shop and he and his manager form his first band. His first guitar is payment from a thrift store for borrowing his van to move. He loved it. An interest in old blues music was born, and to this day, he claims that the Son House song, “GRINNIN IN YOUR FACE” is his favorite song of all time. The song features a man singing and stomping his foot and that minimalism appealed to White. He seems to choke up when he plays that song for us while holding the roughed-up album sleeve.

For some reason, White’s story includes a 9-year-old kid, dressed exactly as White is, learning about music from present-day White. Not sure who’s idea this was, but Old White kicks a Montgomery Ward guitar and then Young White does the same. This Montgomery Ward guitar will be one of many old, out-of-tune, and low-cost musical instruments that White collects.

He formed the group The White Stripes with his ex-wife Meg White. When they married, he took her name. While I’m in favor of his feminism in this move, he negates all of my good feelings when the press notes still refer to “his big sister Meg.” But when it comes to the music itself, I can set aside his dress, his cooler-than-thou-ness, and his “authenticity”. Because he says things like “making music should be a struggle” and “sometimes I put the organ four steps away instead of five so I have to run faster to get there.” And then he said something that will make U2 fans stop in their tracks. He claims that when the White Stripes toured, neither he nor Meg knew what the first song was going to be. They’d go out. And try something. And if that didn’t work, they’d stop and try something else.

There is concert footage of White in various bands, and he is really good. I know, newsflash, right. But he has a soulful, bluesy thing going that he has no right to have. The filmmakers captured a guitar solo during a show in Austin where White was so into the music that he didn’t realize (or did he?) that his fingers were bleeding all over his guitar. He was literally bleeding for his music. At a different show somewhere in the Northwest, a single camera is behind an amp, facing the crowd. It follows Jack as he plays and the crowd is jumping and pumping their fists and he’s manically playing and jumping around and then he turns and begins singing and the place goes nuts. White’s stage setup is substantially smaller than either of the other two participants as you might imagine.

Jimmy Page is seen as a 13-year-old kid playing the song “MAMA DON’T WANT TO SKIFFLE ANYMORE” on the British TV show “All Your Own” in 1957. One of the biggest laughs of the film is when a cracked-voice Page answers the hosts question about his post-school plans with “I want to do biological research.” And then the fun for Zeppelin geeks really begins.

Page gets out of a car at Headley Grange, a former workhouse outside of London. Page once claimed that the estate was haunted, and I don’t know if it’s true or not, but Robert Plant wrote the lyrics to “STAIRWAY TO HEAVEN” there in a single day, and Peter Gabriel likewise had no trouble with writer’s block as he wrote most of “THE LAMB LIES DOWN ON BROADWAY” there with other members of Genesis.

Now, Page is an old man, with a goofy grey near-mullet. He is a bit of a caricature of a retired country gentleman, bumbling about his estate, remembering the good old days when he ruled the music world. But it can’t be overstated what a production genius he once was. There are things he did in the late 60s and early 70s with no technological help that are still being used today in music recording. He believed in the maxim: distance equals depth. One of the most famous things that he did was to set up microphones both right next to the amps, as usual, but then he’d place a second microphone some 20 feet away from the first and mix the sound to be right in between the two. The sound of the room and the natural echo were just as important as the notes in many cases. He changed recording engineers for each Zeppelin album–he was completely hands-on as a producer. This changed on Zeppelin’s final studio album, “IN THROUGH THE OUT DOOR” when the rest of the band would be happy if Page would come out of his drug stupor long enough to record anything. Page’s genius resulted in guitar sounds that weren’t like any others, and more importantly, he took the sheer strength and power of John Bonham and made him into the cornerstone of the band.

Page takes us inside the house and says, “this is the entryway, and there’s the staircase. This is where Bonzo recorded WHEN THE LEVEE BREAKS.” Page looked all over the house for the right spot for echo and power and found it at the bottom of the staircase in the front hallway of Headley Grange. The microphones hung down from the second floor and everyone left the room and John Bonham played. Page claps his hands to listen for the same echo and recalls that after Led Zeppelin IV came out, bands began putting their drummers in all manner of industrial setting. Elevator shafts, cement basements, etc. all trying to capture the same sound.

We next find ourselves in Page’s country house as he plays us some of his records. This is giggle-inducing. Page saying, “listen to this part” and “that was extraordinary” while playing air guitar to old 50s and 60s hits. I couldn’t help but notice that on the shelves behind Page are all of the Zeppelin box sets that you were too poor to afford back in the 80s when they came out. Page will play “RAMBLE ON” in his living room.

Jimmy sits on an old chair in his backyard and plays a beat-up old mandolin. He’s playing “THE BATTLE OF EVERMORE,” outside, by himself and it sounds magical. During the Page portion of the movie, we see plenty of black and white footage and hear of the pain he went through once he realized that he was just a guitarist for hire. He would be called to this studio and that, without any connection to the songs he was playing. His skill made him much sought-after, but he gave it all up after one session where he realized he was playing guitar with the Muzak orchestra. In response, he formed The Yardbirds. The many years past have not lessened Page’s anger at the rock press, especially for their response to Led Zeppelin IV. “One paragraph—that album had Stairway and Levee and Misty Mountain Hop and Rock And Roll—and they could only write one paragraph.”

Bono-haters will be happy to know that he doesn’t appear on camera saying anything. Fans will recognize the first clips we see of Edge as he does Yoga on the roof of his Miami hotel while holding a Blackberry. We then go to Hanover Quay where Edge and Dallas try to lead us in a tutorial on the effects pedals. It takes both men to change the music to the exact sound Edge was looking for. If it wasn’t clear before this film, no Dallas Shoo, no Edge. Seriously. It’s to the point where Dallas can read his mind. Edge fiddles with something, Dallas stares, trying to remember this exact setting for the next time Edge wants it. Edge plays a bit of “GET ON YOUR BOOTS.” He also plays “ELEVATION” without any pedals and then with the full court technology press. Edge will play guitar at Hanover, at his house, at the warehouse, and on the Irish coast.

In Edge’s kitchen, he’ll pull out the 4-track of “WHERE THE STREETS HAVE NO NAME.” He’ll give us a tour of Mount Temple School, including Mr. MacKenzie’s music room, where Edge says the band pushed the chairs to the side and tried to make a ruckus. He also jumps up on the stage-like platform where the band would play early gigs. He jokes that he stood at stage right for a reason he can’t remember “and I have been ever since.” And then, set your watches, because you will see the early single “STREET MISSION” on the big screen in all of its big-hair glory. And, though it may require rewinding when the DVD comes out, a full five-minute ear to ear smile is seen on the face of the once-jovial Larry Mullen. Edge is filmed all over Dublin, providing his own voiceover. He’s on the docks at sunrise, and these scenes are interspersed with the October photo shoot on those same docks.

Edge remembers the lengthy guitar solos of the 1960s and 70s and how self-indulgent they seemed. We see a schematic of an electric guitar and Edge describes how he and his brother, Dick built it, right down to wrapping the magnets. He was an electronics geek even at a young age. He recalls first with frustration the fact that Top Of The Pops was the only TV show that Irish kids could watch to learn about and hear new music. Then he turns downright giddy when he remembers seeing The Jam perform on the show. Twice the same year. His life would never be the same. No longer was musicianship more important than attitude. Suddenly, the fact that the band couldn’t really play their instruments was no longer a detriment to their breaking big.

Edge recounts a trip to New York City with his family. “People looked and talked just like they did in the movies,” he says. He saw a guitar in a window and went in to play it. Here’s your U2 pullquote: “Twenty minutes in that store defined the sound of the band. I thought, this better work.” While we watch an animated guitar, amp, and effects pedal, Edge explains how he discovered that creative use of echo could fill in notes when he wasn’t playing any, resulting in a much more full sound. How he takes away notes from chords, making them more clear. This is the part that U2 cover band guitarists will rewind over and over again on home video.

Edge takes us to the house where the “WAR” album was written and some demos recorded. He was full of anger about the “Troubles” and was concerned that he couldn’t express that anger with his guitar. Bono said something to the effect of “Go off and find it, Edge” or something else equally Bonoesque. Edge goes on at some length about looking at trees in an orchard and suddenly realizing that this group of trunks and branches and chaos was actually lined up in perfect clarity. Or something. Edge’s introspection resulted in “SUNDAY BLOODY SUNDAY.”

And yes, towards the end of the film, Edge stands in front of the very bulletin board where a young Larry Mullen, Jr. placed a notice looking for students to join his band. Edge reflects thoughtfully on what would have happened if he hadn’t responded to that first notice. He says he’d still be playing guitar, but with whom?

They each get to perform for the other two at the Summit. Edge will play Elevation while the other two look on. (He gets credit for the title saying “This might get loud for a second” as he fiddles with his equipment.) White will play something as well, but the real fun, and my favorite moment of the entire film is when Page stands up, while the other two remain in their comfy leather chairs. Page coolly rips into “WHOLE LOTTA LOVE” and Edge jumps to his feet like a tweener at a Jonas Brothers concert, his smile huge, his eyes pinned to the fingers of Jimmy Page. White is a bit cooler and leans in, tapping his foot, and also staring. The two of them appear to be trying to decipher the mystery of the universe. Edge is standing and actually moving slowly towards Page while he plays, his over-sized brain taking in every nuance of the song. It was the coolest.

All of these individual stories of the three guitarists are divided up with footage of the warehouse and songs from each of them, and old clips and there are chapter titles for each new section. The editing is pretty perfect, showing us modern day images juxtaposed with how the person looked when they were just starting out. We hear the voices of the participants, see rare photos, and have the privilege of listening to dozens of songs. (Final stats: Page: 18; Edge: 20; White: 17)

The best chapter titles say simply “Edge’s Explorer”, “Jack’s Kay”, and “Jimmy’s Strat.” And then we hear about how the love affairs started. It’s always difficult to capture creativity in a film, but this one does a pretty good job. Each man asks “what if I…?” at specific points in his life, and that decision, coupled with hard work, gave them each a very lucrative career.

For a rock guitarist, Edge is by far the most normal of the three.

Page used to wear purple silk dragon-adorned pajamas, for pity’s sake. Page used a violin bow, Page had a double-guitar for “STAIRWAY TO HEAVEN,” Page bought the house of Aleister Crowley, Page used an actual theremin onstage, Page had a thing for barely teenage girls. White wears bowties and vests and guyliner, and took the last name of his former wife who he still refers to as his “Big Sister Meg.” Edge is thoughtful and polite and self-deprecating and by my estimation, we see much more of Edge and hear much more U2 music (Bass Trap! Passengers! One Tree Hill! Tomorrow!) than from the other two musicians.

We are left with three very different people doing the same job. Page and his cohorts in Led Zeppelin were responsible for many heavy metal clichés which are still laughed at today. Both the double-necked guitar and violin bow that Page required were mocked by the quintuple-necked bass and violin v. violin solo in Spinal Tap, (a clip of which we see). The “self-indulgent guitar solos,” as Edge refers to them, were a staple of Zeppelin shows. (Wait until you see the clip of a concert by the Edgar Winter Group.) Edge claims to have cried while watching Spinal Tap because he knew it was truthful. Punk rock itself can be seen as a response to Zeppelin and Queen and Yes and every other band who created 15-minute songs when a 2:30 Ramones masterpiece would do. Page brings this double-neck guitar to the Summit and see if you agree with me that Edge is sort of laughing at it as Page explains how it was necessary in order to quickly switch from acoustic to electric during “STAIRWAY TO HEAVEN.”

By the same token, Edge’s tutorial on his effects rack and several dozen pedals is immediately followed by White saying, “technology is the enemy of creativity.” White built a guitar in front of us and Edge needs his own carbon offset to play his. White fronted a two-piece band, and claims his favorite song was made by a man stomping and singing the blues. However, White enlists a guitar tech to mount a harmonica microphone inside one of his guitars so that he can grab it and sing through his amp. So he’s not the tech-hater he claims to be. White will bring this guitar to the Summit.

Page was often thought to be the single best guitar player in Britain, playing on many, many songs as a session player. White studied the old bluesmen. Edge admits to not having a particularly deep musical knowledge. Of the three men, (let the e-mails start), Edge is clearly bringing up the rear in terms of guitar virtuosity. Even the choice of songs the three men play with each other at the Summit tell us something about their proficiency.

The Page song the three play is “IN MY TIME OF DYING,” a masterpiece of slide guitar. This performance alone is worth the price of admission as Page slides like a master, Edge somehow harmonics it up, and White finds the blues. White’s song is “DEAD LEAVES AND THE DIRTY GROUND,” and he barks out orders to the others as they play. The Edge song chosen is “I WILL FOLLOW,” which Page and White could probably play with their eyes closed, but which wouldn’t sound like Edge. Edge has overcome musical ability with musical uniqueness. There are guitarists who sound like Page and White, but none who sound anything like Edge.

Having said all of this, I’m not entire sure that the film will work for everyone. Fans of any of the three men’s music, or the guitar itself will have themselves a ball. Musical historians can find something to enjoy in the way that music has evolved from 1957 until today. But for those who see the trailer and think they’ll be treated to a concert by the three men, think again. We see relatively little footage from this heralded meeting. Most of the information is compiled during the individual portions. The warehouse also features a box of records that we never hear. We can only hope that a DVD extra will be the complete warehouse meeting including songs listened to and played and any demonstrations the men did for each other.

When I walked out of the theater, I realized that my face was hurting because I had been smiling so much while watching it. I may have shouted (or at least mumbled) at the screen. You rarely get a chance to see musicians you love on a large screen, so it’s right to feel a little giddy when you can. I would suggest something that I normally never do. Go see this in the loudest theater with the biggest screen you can, even if you normally avoid the chains like a plague, as I do. This film needs to be felt and experienced. Don’t wait for the DVD.

7.3 IMDB [102V]

IT MIGHT GET LOUD

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2009

June 10, 2009
San Jose CA — Camera 12
USA
English
100 Minutes — June 5, 2009
Comedy
Todd Phillips [Old School]

7.3 Metacritic
8.4 IMDB

The Hangover @ Amazon

THE HANGOVER

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2008

May 23, 2009
HBO
USA
English
92 Minutes — June 6, 2008
Animation / Action / Comedy / Family
Mark Osborne & John Stevenson

Prepare For Awesomeness

Jack Black made this more enjoyable than it probably had the right to be. Creative use of Chinese-seeming art design. It may be culturally inauthentic, but I didn’t notice the difference.

7.3 Metacritic
7.7 IMDB

Kung Fu Panda @ Amazon

KUNG FU PANDA

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GATE OF FLESH
1964

September 10, 2008
Netflix Criterion DVD
Japan
Japanese / English
90 Minutes — December 11, 1964
Drama
Seijun Suzuki [Shunpu Den]

Hard-to-categorize film that takes place in post-war Tokyo. A band of colorfully dressed hookers work a particular area of town, catering to American GIs and Japanese criminals. They have a simple code: no pimps and no sex without payment. Break this rule and the other women in the group will strip you, assault you, nearly torture you, cut off your hair, and dump you in view of the whole town. Woe to you who have sex for love. We follow one girl as she joins the gang and the profession. Everyone is trying to make ends meet after the war. Japan has an incredibly low sense of national pride–characters mention the surrender and failures of the army and emperor.

There isn’t much plot to speak of. Girls drink and steal and sell their wares. The film is dark and sultry–everyone is sweating all the time. It is also pretty sexy for an early 60s film. In addition, there are scenes to satisfy any number of fetishes, both Japanese and Universal. Girls are tied up and bound, whipped and caned, covered in milk. There are artsy sex scenes. And the “cleaning” of an entire cow with a knife while the girls look on intrigued. A black American priest is seduced and then kills himself. A gang leader has the obligatory scar down his cheek. There is a man who enters the women’s world (and warehouse) who ridicules the women while recuperating from his latest caper.

Not exactly recommendable, but not an ordeal either.

Criterion even seems to think that this is light, exploitation–there is no commentary on the disc.








7.3 IMDB

Gate of Flesh – Criterion Collection @ Amazon

GATE OF FLESH

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2001

July 26, 2002

DVD

France/USA

English/Spanish

Mulholland Drive–A Love Story In The City Of Dreams

Naomi Watts. Laura Harring. Directed by David Lynch.

This was one of my top five films of 2001 and upon second viewing, I still believe this. In fact, watching this on DVD was better than in the theater. Mostly because of the intricate sound design that Lynch came up with. It is much scarier watching this on your TV alone at home than it was in a theater full of people.

I loved that entire philosophies of this film sprung up on the internet when it first came out. What does the box mean? What is the timeline? I read every word and agreed with many of the theories. They still hold up after watching again. The sex scenes are still hot, the ending still creepy, and the performance of Watts looks even better. I’d like to know where in Australia Watts has been hiding because she was unbelievable.

As this is a Lynch film, there are red herrings galore. What was the meeting in the board room all about? What’s the deal with the cowboy? Why do we care about the director’s wife and Billy Ray Cyrus? But this all makes the film more fun.

* Best Actress of 2001 for Naomi Watts–Boston Film Critics Nomination; Chicago Film Critics Winner; Online Film Critics Society Winner

* Best Director of 2001 for David Lynch–Academy Award Nomination; Boston Film Critics Winner; Cannes Film Festival Winner; Chicago Film Critics Winner; Los Angeles Film Critics Winner; Online Film Critics Society Winner; Toronto Film Festival Winner

* Best Picture of 2001–Boston Film Critics Winner; Broadcast Critics Association Nomination; Chicago Film Critics Winner; Cesar Award Winner; New York Film Critics Winner; Online Film Critics Society Winner

* Best Cinematography of 2001 for Peter Deming–Chicago Film Critics Nomination; Independent Spirit Award Winner; Online Film Critics Society Nomination

* Best Screenplay of 2001 for David Lynch–Online Film Critics Society Nomination

7.3 Critical Consensus

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Written by Michael W. Cummins