For better or for worse, we all know David Lynch .
Who has not heard from his friend cinephile of trust: "But Lynch's latest film is a masterpiece!" or, "But you've seen Lynch's latest film? In my opinion, even he knew what he meant. " There are differing opinions as to any self-respecting artist. We talk to Lynch, there are limits as to say that his work is "beautiful" or "bad" using aesthetic categories, not at all suited to the work of film criticism, which often abused. It was discussed, there is always an exchange of views and, citing Paul Bertetto , Lynch forces the viewer to question every single movement of the camera in the sequence of one of his films. His films are to be interpreted, certainly not leave you with nothing to say.
In His works are used to assist in the disposal of large issues such as loss of personal identity, the confusion between dream and waking, death. But even at moments of grotesque humor, just think of films like Wild At Heart or the television series Twin Peaks . The mixture of these elements introspective humor and the tendency (of school Hitchcock ) is one of the recognizable features that make a movie by David Lynch. What was missing in the list of Lynch's filmography was a film that did reflect the traditional ways of thinking through film. Calmly and slowly. And this is precisely the intent of the director in pellicola del 1999 che ho intenzione di analizzare: The Straight Story [ Una Storia Vera - 1999 - Walt Disney Pictures ] .
Per quanto possano risultare “pesanti” i suoi film, sono comunque tutti caratterizzati da movimenti rapidi di macchina ed un montaggio all'apparenza confuso, o per meglio dire, confusionario. Prendo come sequenza emblematica quella del film Lost Highway [ Strade Perdute – 1997 - October Films ] dove in diverse occasioni la macchina da presa, posta su un'automobile durante una sfrenata corsa notturna, riprende l'asfalto e le linee gialle disegnate su di esso attraverso un lungo piano sequenza per dare un senso speed and loss of control (control lost, as the streets "lost" in the title). Unfortunately I will not thoroughly in this film, in my view, reaches the highest level of film production, but I'll try to dedicate a whole post soon. I have used the Lost Highway to provide a useful contrast in the American filmography. In The Straight Story, shot in '99 right after the movie of '97, is the reverse order. The old main character finds himself on the road, do not lose at all. His identity is multiple or jagged, confused in the hectic life of the musician who suspected a betrayal by the beautiful wife. Alvin Straight has decided to walk 317 miles to the edge of a lawn mower and is sure of his decision, because this is the way he wants to make this trip. It is often said that, in this film, Lynch redefined the canon of the "road movie", but I do not find too agree with this definition. The "road movie " as well as many other kinds of films can be jagged and different. The road is essential that element that must be respected in an almost religious when you decide to make a film like that. The way it approaches argument, then, is variable. The pace you want to give the trip, direction, and the stops along the way are decided at the discretion of those who run the machine, not surprisingly, the director is a director. "
Nor is it a coincidence that this film was shot shortly after the film of '97. It is as if the director wanted to take a little time for reflection. A vacation from his style of directing so intense and moving to the country for some time, dealing with more mundane issues, the most common while maintaining the universality of his earlier films.
always Taking as an example the sequence of the car ride to Lost Highway, you see how Alvin relates to the road, finding again the same sequence shot on the tarmac and yellow stripes. His is a very slow vehicle, the journey he intends to take will last more than six weeks with a considerable waste of money. Alvin And yet he is happy, because this is what I want more, this is how he wants to face his final journey. The labor of the road, with its complexity and its slopes (in the material sense) allows our protagonist to confront the past, marked by war, alcoholism and other times it's not at all proud, and so purify as Indians in the Ganges, before reaching its final goal: the reconciliation away with his brother (and himself). It is no coincidence that, once reached the end of the course, be able to enjoy a cold beer without the fear of falling again into the abyss of alcohol.
Alvin's journey is a physical journey or a spiritual journey? It's both.
Who is not familiar with Lynch may not know of its humanitarian commitment and its association connected directly to the practice of MT the Transcendental Meditation, the practice director for the past long time. I, in my small way, to get closer to the mentality and creativity di Lynch ho frequentato un corso, ho imparato la MT e la pratico da ormai più di un anno (con i miei alti e bassi). Non si impara a volare, come spesso ti portano a credere, non diventi invincibile come Superman, ma acquisti una grande serenità nell'animo, la stessa calma imperturbabile che ti permette di affrontare un viaggio pieno di insidie come quello di Alvin. Lo stesso viaggio che poi è la vita, giusto per rientrare a pieno nella più classica delle tradizioni in tema di viaggio.
La vita spirituale è la chiave ideale per leggere l'intero percorso di Alvin e la storia che Lynch ci narra, attraverso queste lunghe riprese di campi sterminati e questo andamento apparentemente lento.
In The Straight Story non lacking the typical elements of the new film by the master of surrealism, the small country town, the " Oddities" (odd) that populate the universe of Lynch. The figure of Rose, the daughter of the late Alvin, and his sad story remind us of the hero of the first film directed by Lynch, Henry Spencer of Eraserhead .
The soundtrack, brilliantly directed by one of the permanent staff of Lynch, Angelo Badalamenti , manages to create a dreamy and dreamlike but dark as in the other work of the director, because we know that the distance between dream Lynch nightmare and is very short.
To summarize, I believe it is necessary visione parallela dei due film di David Lynch, dove in un primo momento la strada viene perduta ed in un secondo momento viene ritrovata, proprio come nelle due opere poetiche fondamentali di John Milton ( Paradise Lost – Paradise Regained ). Questo parallelismo è fondamentale per comprendere il processo universale che il regista ci vuole suggerire. È facile perdere la strada, ma per ritrovarla è necessario uno sforzo, una intenzionalità (per dirla alla Husserl ) che si trova solamente tramite la Meditazione Trascendentale.
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