"Monster Night Panic", "Mulholland Road" and "Inland Empire" are necessary to be watched together, not only because the three are mixed with memories, dreams, fantasy and surreal narrative techniques, to illustrate or It implies that the characters’ mental state, needs and desires and behavior motives in the real world also lie in the existence of different and recognizable variations in the internal logical time-space arrangement of the three works, which are manifested in the understanding of the storyline at the specific level of understanding (sparsely). The degree of difficulty. Therefore, although the techniques and story frames of the three movies are almost the same: the characters all experience strong emotional stimuli in reality and induce multi-level mental activities, but internally due to the different ways of connecting time and space and the degree of concealment of clues. It has a rich and very different inner meaning, and brings the audience a different depth of experience of prying into the mind and consciousness of others in terms of structure and form.
When we try to clarify the internal plot logic of "Monster Night Panic", we will clearly realize that the clues that mark the timeline appear in completely unexplainable places, and the story is closed into a loop and eventually ends in a dead end. For example, we can’t explain why the male protagonist who changed his face and was released in the reality line prison disappeared temporarily. After performing a story, he changed back to the original gang and killed the gang boss in front of the wooden house, and finally returned to the door of the house and said the beginning of the timeline. Important lines. This is why most viewers who follow linear thinking and are accustomed to clarifying the logic of the story when they encounter nonlinear narratives, or praise this film for brainstorming or curse it for cheating.
There is naturally no so-called "linear" in the story that is connected in a loop. It is also a technique that is difficult for the public to deliberately lead the story to the unexplainable "mystery". After all, to some extent, "mystery" refers to things that humans cannot recognize. , So how to write "mystery" is easy to be regarded as delusional or cutting corners. In 1997, David Lynch, a master of narrative structure, either because of his disdain or because of his loneliness, shot the "Lost Highway" which is incomprehensible to ordinary people, a "spiritual" with a wonderful contrast between calm and heavy metal. The "Split" movie shows on the one hand his superb ability to create psychedelic and strange atmospheres and his nearly pathological psychoanalysis of pathological characters. On the other hand, it also blocks most of the audience from experiencing the relatively obscure story logic. Feel outside the door. Perhaps it was Lynch’s "compassion" for these "rational" audiences, so in 2001, he launched "Muholland Road" with a similar style but the opposite connotation.
In my superficial view, "Mulholland Road" is an "easy to understand" movie, which is also a three-pronged axe of memories, dreams (fantasy) and surrealism. Lynch used them to make a film with complicated plots. A suspenseful piece of usual meaning that is logically clear and clear. Although it presents a psychedelic and weird temperament like the previous work, the essence is a subtly designed and arranged ingenious mystery novel that can only be understood by the audience after a little analysis. It has clear clues, clear correspondences, few loopholes in the timeline, no "mystery" that is incomprehensible rationally, and motives that are difficult to identify perceptually. From the perspective of suspense genres, it is more "perfect", both for love. The audience of the logic game provides a solvable "brain-burning" plot and pave the way for the fans of psychoanalysis with a solid emotional foundation. It can be said that everyone is happy and loved. Therefore, "Mulholland Road" is not an incomprehensible movie. As long as the audience selects the "smartest" guide from hundreds of film reviews on the website and reads the pull film carefully, they will be able to overcome this problem. .
If David Lynch is likened to a magician, then "Monster Night Panic" and "Mulholland Road" represent the two aspects of "changing a living person" and "changing back to a living person" respectively The first step is responsible for “mystery” and the latter step is responsible for “eliminating the mystery”. Only the combination of the two steps can show causally that David Lynch is a qualified magician, not a juggler who simply plays tricks. "Mulholland Road" proves his ability to arrange the narrative structure closely, and at the same time proves that the chaotic sequence and causality in "Monster Night Panic" are his means of deliberately introducing "mystery" into the story. This is an easy-to-understand argument. We only need to carefully observe the location of the signs and actions that disrupt the sequence in "Monster Night Panic"-all of them happen to appear where the development of the story urgently needs to be connected (such as the beginning and The doorbell recording at the end).
The reason why David Lynch introduced the "mysterious" destruction logic in the structure is to let the audience weaken logic and rationality, stimulate their own intuitive ability, and follow the subconscious "roaming" triggered by the stimulation of the characters ("roaming" is taken from "Neuro Wanderer" seems to be quite suitable to describe this disorderly and unpredictable movement...), to feel the characters' deep desires and emotions, and as the film continues to flash back and dreams are completed, the characters’ personality, instinct, anxiety and The outline of the psychological defense mechanism. So by the end of the film, although we may not be able to clarify the plot logic, we are unexpectedly able to know the character, motivation, and thoughts of the characters. Our "savvy" or "understanding" plays a huge role in it.
When I used to memorize words, my friend gave me a set of "memory palace" theory. The main point of the method is that the memorizer must meditate on a huge and tidy palace in his mind, and then define a route and place the content to be memorized according to the door number. Enter the room and draw a blue icon to indicate the landmark and storage space of your choice. When you are not in that place, look at the map with your eyes and check the images in your mind to make sure you have memorized all the positions and the order is correct. Drawing "images" in the mind is a typical memory method that visualizes abstract concepts in the brain. It also seems to coincide with the form of "memory" or "consciousness" in the brain. The knowledge system corresponds to the imagination of a palace, and the amount of brain power it takes cannot be underestimated.
When we watch "Inland Empire" with the same train of thought, we will find that the entire Inland Empire is a conscious visual image empire triggered by the heroine being stimulated. When we follow the rough and super-eight screens that are shaking to experience this During the three-hour journey of consciousness like a bad omen and nightmare, it is like following a stalker to explore a region "The Zone" with ever-changing traps and traps, and finally accompany the consciousness object of a Polish girl (character played by Laura Dunn) ) Arrive at the cell "The Room" that can satisfy people's deepest subconscious desires and desires, that is, the weird space where the bunny head sits in the film.
The audience who asked "what is this'weird space', why did the heroine come here inexplicably?" The audience is destined to be unable to get an answer, just like asking what is the "black stone" in "2001", and the "room" in "Stalker" is what. Philosophers call the “things” that this kind of people’s knowledge cannot continue to explore as “things in themselves” or “ultimate reality.” The so-called power, consciousness, and higher civilizations can generally be called such “mysteries” and “mysteries”. "Because they are unknowable, they can only be described. Reason will not help us to know them. At this time, we can only make up for it with insight.
In my opinion, "Inland Empire" is unparalleled as the final work under the label of David Lynch. It is even wilder and more metaphysical than "Monster Night Panic", if the latter is an endless The former is a vast continent made up of layers of abstract consciousness. There are houses, villas, studios, bars, interrogation rooms, movie theaters, rabbit houses, and neighbors, butlers, actors, and directors. , Prostitutes, passers-by, police, blacks, yellow people. They are all brilliant creations designed by Lynch as a visual artist, and they all exist in the chaotic and complex minds of Polish girls. The uncausal and fragmented editing is their relationship form. It is futile to sort them out. We can intuitively (and only intuitively) them, walk into and open every building on the mainland, and observe every pedestrian on the road, and we will deeply feel the anxiety, regret, pain, struggle, arrogance, and hysteria in the minds of Polish girls. It nests deeply like Inception, and grows out of each other, and this time we can experience the thrill of sneaking and roaming in her consciousness.
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