[RS] The Movies of David Lynch RapidShare, MegaUpload, HotFile Free Full Version Warez Download

cooldude194874 · 12-01-2009, 04:37 AM

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The Movies of David Lynch

David Keith Lynch (born January 20, 1946) is an American film director, screenwriter, producer, painter, cartoonist, composer, video and performance artist. Lynch has received three Academy Award nominations for Best Director, for The Elephant Man (1980), Blue Velvet (1986) and Mulholland Drive (2001). He also received a screenplay Academy Award nomination for The Elephant Man. Lynch has won awards at the Cannes Film Festival and Venice Film Festival.

Over a lengthy career, Lynch has employed a distinctive and unorthodox approach to narrative film making (dubbed Lynchian), which has become instantly recognizable to many audiences and critics worldwide. Lynch's films are known for surreal, nightmarish and dreamlike images and meticulously crafted sound design. Lynch's work often explores the seedy underside of "Small Town U.S." (particularly Blue Velvet and Twin Peaks), or sprawling California metropolises (Lost Highway, Mulholland Drive and his latest release, Inland Empire). Beginning with his experimental film school feature Eraserhead (1977), he has maintained a strong cult following despite inconsistent commercial success.

Although interpretations vary, those who study Lynch's work generally find consistent themes. His narratives are typically set in the United States, either in remote small towns (Twin Peaks, Blue Velvet) or in sprawling metropolises (Lost Highway and Mulholland Drive, both set in Los Angeles, California). Beaten or abused women are also a common subject, as are intimations or explicit mention of incest and sexual abuse (most of his films).

Most of Lynch's male protagonists harbor some dark secret or have a "dark side" which they suppress; Eraserhead's Henry impregnates and abandons his girlfriend, Jeffrey in Blue Velvet develops sadomasochistic tendencies which violently manifest themselves in his unfaithful couplings with Dorothy, and Leland Palmer has a latent sexual desire for his own daughter in Twin Peaks.

Lynch also tends to feature his leading female actors in multiple or "split" roles, so that many of his female characters have multiple, fractured identities. This practice begins with his choice to cast Sheryl Lee as both Laura Palmer and her twin cousin Maddy Ferguson in Twin Peaks and continues in his later works. In Lost Highway, Patricia Arquette plays the dual role of Renee Madison/Alice Wakefield. In Mulholland Drive, Naomi Watts plays Diane Selwyn/Betty Elms and Laura Harring plays Camilla Rhodes/Rita. In Inland Empire, Laura Dern plays Nikki Grace/Susan Blue. By contrast, Lynch rarely creates multi-character roles for his male actors.

All downloads contain English subs!

Eraserhead (1977)

Code:

http://www.imdb.com/title/tt0074486/

Filmed intermittently over the course of a five-year period, David Lynch's radical feature debut stars Jack Nance as Henry Spencer, a man living in an unnamed industrial wasteland. Upon learning that a past romance has resulted in an impending pregnancy, Henry agrees to wed mother-to-be Mary and moves her into his tiny, squalid flat. Their baby is born hideously mutated, a strange, reptilian creature whose piercing cries never cease. Mary soon flees in horror and disgust, leaving Henry to fall prey to the seduction of the girl across the hall.

An open-ended metaphor with the tone of a nightmare, David Lynch's debut feature combines disturbing visuals with what may be an even more disturbing sound design to create an unforgettable film that's affecting on a visceral level. A Cronenberg-ian discomfort with the simple fact of physical existence courses through Eraserhead, beginning with, but not limited to, matters of sexuality and reproduction.

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The Elephant Man (1980)

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http://www.imdb.com/title/tt0080678/

John Hurt stars as John Merrick, the hideously deformed 19th century Londoner known as "The Elephant Man". Treated as a sideshow freak, Merrick is assumed to be ~censored~ as well as misshapen because of his inability to speak coherently. In fact, he is highly intelligent and sensitive, a fact made public when one Dr. Frederick Treves (Anthony Hopkins) rescues Merrick from a carnival and brings him to a hospital for analysis. Alas, even after being recognized as a man of advanced intellect, Merrick is still treated like a freak; no matter his station in life, he will forever be a prisoner of his own malformed body.

Elephant Man was in many respects a longer, more accessible, better plotted version of Eraserhead, underlining Lynch's fascination with physical freaks and sporting the same strange atmospherics, including the constant background noise of humming and hissing machinery. John Hurt sensitively plays the title role, based on a true story about a severely deformed man in late 19th century London who becomes the star of a freak show and the toast of society. Anthony Hopkins's role firmly established his career, and the film did the same for Lynch, who became a cultural hot property. Stark and unforgiving, Elephant Man promotes Lynch's vision of a society at odds with its members. The film received eight Oscar nominations, including Best Picture, though it won none of them.

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Dune (1984)

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http://www.imdb.com/title/tt0087182/

The story takes place in the year 10,191. The universe is governed through a system of feudal rule, presided over by Padishah Emperor Shaddam IV (Jos? Ferrer), who appears to take his marching orders from something that resembles a talking vagina. In the kingdom are two rival houses -- the House of Atreides and the House of Harkonnen. Each house is trying to gain dominion over the universe, but that dominion can only be gained by the house that controls the Spice, a special substance that permits the folding of time. The Spice is only available on the desert world of Arrakis, or Dune. Shaddam, tired of the feuding between the two houses, permits the Atreides to take over the Spice production on Dune, while secretly working with the Harkonnens to launch a sneak attack on the Atreides and destroy them.

Sprawling and visually impressive, Lynch's Dune pleased neither Herbert fans nor neophytes: when a film's opening narration makes little sense, you know you're in trouble. Nonetheless, it's a pleasure to watch a director of Lynch's boundless imagination take advantage of an outsized budget. The ideas come fast and furious, and if the film proves tough to follow, it seldom proves tough to watch, making its lack of discernible substance or depth all the more regrettable.

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Blue Velvet (1986)

Code:

http://www.imdb.com/title/tt0090756/

Kyle Maclachlan stars as Jeffrey Beaumont, a square-jawed young man who returns to his picture-perfect small town when his father suffers a stroke. Walking through a field near his home, Jeff discovers a severed human ear, which he immediately brings to the police. Their disinterest sparks Jeff's curiosity, and he is soon drawn into a dangerous drama that's being played out by a lounge singer, Dorothy Vallens (Isabella Rossellini) and the ether-addicted Frank Booth (Dennis Hopper). The sociopathic Booth has kidnapped Dorothy's young son and is using the child as a bargaining chip to repeatedly beat, humiliate and rape Dorothy. Though he's drawn to the virginal, wholesome Sandy Williams (Laura Dern), Jeff is also aroused by Dorothy and in trying to aid her, he discovers his dark side.

An hallucinogenic mystery-thriller that probes beneath the cheerful surface of suburban America to discover sadomasochistic violence, corruption, drug abuse, crime and perversion.
David Lynch's map of the terrain between wet dream and nightmare, Blue Velvet reaffirmed the director's status as one of the most vital talents in American filmmaking, and achieved a mood and tone which would indelibly influence popular culture for the remainder of the 20th century. Though much of the film revolves around a compelling, lurid mystery -- executed in a tense, economical manner that might have made Alfred Hitchcock proud -- Blue Velvet is more interested in the mysteries of desire and the horrors of unchecked deviance. Lynch uses the form, style, and mood of a film noir to challenge and ultimately subvert notions of innocence, sexuality, and love.

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Wild At Heart (1990)

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http://www.imdb.com/title/tt0100935/

Nicolas Cage and Laura Dern play a pair of lovers on the run in this surrealist road movie Wild at Heart. Cage's Sailor Ripley is a violent ex-convict with an Elvis Presley fixation who falls in love with Dern's Lula Pace Fortune, the daughter of a rich, but mentally unstable, Southern belle named Marietta (Diane Ladd, Dern's real-life mother). Just after Sailor is released from prison, where he was jailed for brutally killing one of Marietta's thugs, he and Lula take off on a wild cross-country trip, pursued by his parole officer, her mother, criminals, bounty hunters, and detectives. Along the way, Sailor and Lula have a lot of sex, share their pasts, share their respective obsessions for Elvis and The Wizard of Oz, and meet a lot of bizarre characters, including a seedy ex-marine (Willem Dafoe) who persuades Sailor to participate in a bank robbery.

Appearing at the height of the director's popularity, thanks to the inescapable, if short-lived, Twin Peaks phenomenon, Wild at Heart is also the most stereotypically Lynchian of David Lynch's films, filled with striking visuals, surreal asides, pop-culture references, quirky characters, and oblique commentary on American life. As such, it will leave some viewers thrilled, others scratching their heads in annoyance. The open structure of the road film allows Lynch to indulge his most freewheeling instincts, and the results might be predictably mixed, but they're also frequently thrilling. If individual scenes themselves feel loosely connected, Nicolas Cage and Laura Dern help hold the enterprise together by lending surprising poignancy to what could have been fairly cartoonish characters. Though not without its moments of unevenness, cumulatively, it feels like the perfect contemporary picaresque for the fast-food era.

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Twin Peaks : Fire Walk With Me (1992)

Code:

http://www.imdb.com/title/tt0105665/

This prequel to the cult television series "Twin Peaks" concerns the last seven days in the life of Laura Palmer (Sheryl Lee), whose plastic-wrapped corpse, found floating in a river, was the fulcrum for the television series. During the day in the town of Twin Peaks, Laura is a top honors student at the local high school. By night, she is a sex-crazed cokehead, prostituting herself at a sleazy sex club to get money to feed her drug habit. Her race to oblivion is fueled by her father, Leland (Ray Wise), who, as his alter ego Bob (Frank Silva), has been sexually abusing Laura since she was a child. But Laura has an attack of conscience when she realizes that she is leading her best friend Donna (Moira Kelly) down the same rocky road.

A prologue featuring Chris Isaak and Kiefer Sutherland as FBI agents never mentioned in the series starts the film off on an appropriately creepy note. Once it arrives at the town of Twin Peaks itself, however, the film begins to unravel pretty quickly, turning into a torturously slow, brutally detailed descent into the dark side of small town America. Lynch scores up some memorable set pieces.

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Lost Highway (1997)

Code:

http://www.imdb.com/title/tt0116922/

Fred (Bill Pullman) is an avant-garde jazz saxophonist who shares a luxurious but fashionably barren house with his wife Renee (Patricia Arquette). Fred suspects that Renee may be unfaithful to him, but realizes he has bigger things to worry about when a series of videotapes appear at his door that prove someone is watching his home from the outside and inside. When Renee is found murdered, Fred finds himself behind bars, but one morning Fred is no longer in his cell. He has seemingly been transformed into Pete Drayton (Balthazar Getty), a young auto mechanic who foolishly allowed himself to get involved with the wife of gangster ~censored~ Laurent (Robert Loggia), a luscious blonde named Alice who looks exactly like Renee.

Another extreme exploration of the darkness within, Lost Highway marked David Lynch's cinematic and artistic comeback after Twin Peaks: Fire Walk With Me. A bold move away from typical Hollywood narrative, Lynch and co-writer Barry Gifford craft a quintessentially Lynch-ian mind game of multiple identities, heroes, villains, and femme fatales that defies conventional space and time. Spiked with such evocative film noir images as a highway at night and a burning cabin, Lost Highway's tale of jealousy, murder, and retribution becomes the ultimate noir fever dream of sexual terror, yearning, and violence, yet Lynch still finds a hopeful space for some woozy romance.

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The Straight Story (1999)

Code:

http://www.imdb.com/title/tt0166896/

Alvin Straight (Richard Farnsworth) is an ailing widower in his early 70's who lives in Laurens, Iowa with his daughter, Rose (Sissy Spacek), who is mildly ~censored~ and has a speech defect. Alvin doesn't trust doctors, despite suffering from emphysema and a bad hip. Alvin learns that his brother Lyle (Harry Dean Stanton) has suffered a stroke and may not have long to live. Alvin and Lyle haven't spoken in 10 years, which Alvin says is mainly a matter of pride and alcohol; Alvin wants to clear his slate with his brother before it's too late. However, Lyle lives in Wisconsin, and Alvin has little money, no car, and no driver's license. He does, however, have a riding lawn mower, and so Alvin hops on board and heads northeast to Wisconsin, hoping to make it while there's still time. Along the way, Alvin makes new friends and refuses to give up on his journey, despite frequent mechanical breakdowns. Richard Farnsworth's performance as Alvin earned him an Academy Award nomination as Best Actor; it would prove to be his final screen appearance, as he died a year after the film's release.

A G-rated, Disney-produced, family-friendly film from David Lynch seemed like a fairly questionable prospect at the time, but The Straight Story turned out to be the perfect choice for the director, allowing him to extricate himself from the nihilist-cool corner into which he'd been painted and make one of his best films in the process. Though a departure in many respects, the film also has a lot more in common with Lynch's past work than might be immediately apparent. For those who had accused Lynch of merely presenting freak shows against the backdrop of apple pie America, The Straight Story serves as a reminder that he generally sympathized with the freaks, even if he maintained a taste for apple pie.

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Mulholland Dr. (2001)

Code:

http://www.imdb.com/title/tt0166924/

Two women who find themselves walking a fine line between truth and deception in the beautiful but dangerous netherworld of Hollywood. A beautiful woman (Laura Elena Harring) riding in a limousine along Los Angeles' Mulholland Drive is targeted by a would-be shooter, but before he can pull the trigger, she is injured when her limo is hit by another car. The woman stumbles from the wreck with a head wound, and in time makes her way into an apartment with no idea of where or who she is. As it turns out, the apartment is home to an elderly woman who is out of town, and is allowing her niece Betty (Naomi Watts) to stay there; Betty is a small-town girl from Canada who wants to be an actress, and her aunt was able to arrange an audition with a film director for her. Betty befriends the injured woman, who begins calling herself "Rita" after seeing a poster of Rita Hayworth. While Betty's audition impresses a casting agent, and she catches the eye of hotshot director Adam Kesher (Justin Theroux), Kesher's producers and moneymen insist with no small vehemence that he instead cast a woman named Camilla Rhodes. As Rita attempts to put the pieces of her life back together, she pulls the name Diane Selwyn from her memory; Rita thinks it could be her real name, but when she and Betty find a listing for Diane Selwyn and visit her apartment, they discover the latest victim of a mysterious killer who is eluding police detective Harry McKnight (Robert Forster). Rita's emotional identity soon takes a left turn, and it turns out that neither woman is quite who she once appeared to be.

Early on in Mulholland Drive, a man sits in a Hollywood greasy spoon, relating a dream to a friend sitting across from him. The dream, he explains, took place in the same diner, only in the dream some unspeakably evil presence lived behind it. He's come here now to prove to himself that the dream wasn't real. After paying the check, he and his companion venture outside and walk around to the back of the building. Sure enough, an almost ludicrously hideous face appears from behind a cinder black wall, and the man faints dead away. The scene is pure David Lynch: Simultaneously silly and terrifying, it provides a clue of sorts to the film as a whole. Mulholland Drive operates according to the relentless logic of dreams -- the only kind of logic that matters to Lynch. Like some kind of reverse Occam's razor, the most outlandish explanation for any given situation is inevitably right. The film is full of repeated motifs (the diner is one) and shifting identities, all pivoting on Lynch's familiar obsessions -- sexy innocents ripe for corruption, mysterious strangers speaking in riddles, and sugary pop songs made over as haunting arias, to name a few.

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Inland Empire (2006)

Code:

http://www.imdb.com/title/tt0460829/

Shot on a handheld Sony PD150 digital video recorder. It is the tale of an actress whose personality becomes increasingly fragmented as she delves ever deeper into her work for a high-profile filmmaker. Kingsley (Jeremy Irons) is a director looking to adapt for the screen a Polish gypsy folktale that was previously stalled when the two leads were viciously murdered. Having offered the female lead to devoted actress Nikki (Laura Dern), Kingsley warns her male co-star, Devon (Justin Theroux), to maintain his professional distance, as Nikki's husband (Peter J. Lucas) is known to be notoriously possessive. As the passionate co-stars quickly cross the line and become lovers, Nikki's slowly slipping sense of reality causes her to eventually become lost in her character while the mysterious story of a Polish couple and a trio of giant stage-bound rabbits (voices of Naomi Watts, Scott Coffey, and Laura Harring) lounge around on the sofa and tend to their domestic duties. Shot over the course of two and a half years and without a formalized script, Lynch's hallucinogenic look at a doomed film project features all of the abstract imagery and strange symbolism that have long made the director a favorite of film fans who embrace his disorienting approach to unconventional storytelling.

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