...Recommend: MULHOLLAND DRIVE

MARCH'S NOIR FILM RECOMMENDATION:

Mulholland Drive

 As today is International Women's Day, I thought I would recommend a film with (definitely at least one) female protagonist, and in particular one whose females characters weren't either one dimensional, romantically obsessed or simply eye-candy. Film noir is full of powerful females, from Norma Desmond to Kitty Collins, all of whom are capable of manipulating men for their own needs. Neo-noir can be braver still, focusing most of the story on women without their roles always being respective to men, as earlier noir tended to. Mulholland Drive is not a comfortable or easy film to watch or understand, BUT it does contain some very complex yet spirited women, and explores women's relationships with both themselves and other females. Naturally, this film also passes the Bechdel Test* with flying colours.

 David Lynch is one of those names you recognise, but probably have had little actual experience of his work.   The majority have encountered Lynch, if at all, through The Elephant Man; a beautiful and accomplished film, but very different to his usual work. It would be like watching Bad Taste** and assuming that all of Peter Jackson's films would be of the same ilk, including The Lord of the Rings trilogy. Mulholland Drive was my first foray into what you might call 'proper' Lynchian films, and I've learnt it's best to be prepared. This makes Inception look as linear as a Jennifer Aniston rom-com. To enjoy this film, or even begin to comprehend it, you must treat it as a dream; symbolic, with images contributing to an idea as a whole, rather than as a traditional narrative. Like a dream, seemingly disparate elements are juxtaposed next to scenes which seem to further the 'known' plotline (i.e. the synopsis you read on the back of the DVD case). It is tempting to let the other odd scenes that don't include 'Betty' or 'Rita' glide over you, whilst you focus on puzzling out their story, but try to  watch it all, joining up dots where you can, rather than trying to force an answer out of it. Enjoy the dream-like experience, and connect with the emotions and the characters first and foremost; you can puzzle what it was over afterwards. When you're re-watching it.

 Also, if you find yourself watching in fear from behind a loved one after the first 'Winkies' encounter, pause it, go get a cup of tea and perhaps a bourbon, then CARRY ON WATCHING. It's fine, you don't see anything again for a good while, and you'll be absorbed by then. The film was designed to be watched in one go, and I highly recommend you view it thus. Just like I did... *ahem*.

 Naomi Watts and Laura Harring completely sell what could have easily otherwise become cold, strange and incomprehensible film, alienating the audience too much and preventing them caring about the characters. This is thankfully avoided by the fantastic chemistry between these two actresses, with 'Betty's' moving audition scene being a stand out moment. The subtle nuances in their acting choices help the film move believably through its fractured narrative, which is no mean feat. The fact that we are left feeling so desolate and betrayed at the denouement is testament to the wonderful performances the leading ladies give. Many people dislike this film, feeling it to be pretentious and deliberately obtuse, but you simply cannot fault Watts and Harring.
 Mulholland Drive isn't for everyone, and I don't expect Lynch intended it to be. However, it is the only time I have ever watched a film that truly succeeded in capturing the experience of dreaming, and for that and it's wonderful acting alone, it is worth attempting to watch. If nothing else, it makes you think, and I guarantee that heated discussion as to its meaning (if it has one), and its actual plot (if it has one) will ensue after consumption. Watch it if you can, and then, watch it again. It's an experience.

*In order to pass the Bechdel test, the film (or TV show) must meet all the following criteria:

1. It includes at least two women
2. Who have at least one conversation with another woman
3. About something other than a male/s

It's scary how many famous films DON'T pass this simple test.

**Give it a try if you haven't, it's great fun if nothing else. Be warned, it stars Jackson and his mates, and most of the props and costumes are home-made...

You might like if you enjoyed:
Sunset Boulevard, Black Swan, Inland Empire, Eraserhead, Blue Velvet

Directed/Written by: David Lynch

Year: 2001

Starring: Naomi Watts, Laura Harring, Justin Theroux, Ann Miller

...Recommend: THE BREAKFAST CLUB

This is a new (hopefully) regular feature in which I offer a recommendation, categorised by genre, to either watch or read each month. If you've come across them before, feel free to comment and share your opinion, if not, then give it a try!

FEBRUARY'S FEEL-GOOD FILM RECOMMENDATION: 

The Breakfast Club

Now, I appreciate there could be some contention over the genre for this 80s classic, but it makes me feel good, so that's the classification I'm using. It blurs the edges of comedy, drama, coming of age and teen movies, which is what makes it so successful; it is all about defying arbitrary boxes imposed by society, therefore I shall call it what I damn well like. Possibly THE film for students, it manages to capture the sense of peer pressure and frustration that accompanies life in high school, and deals with it in a fun, thought provoking way without becoming too preachy. Yes, there is a clear moral, and perhaps the central premise, (that all these different people are left in detention the same week for a selection of suitable 'crimes') feels a bit hackneyed, but the way it is dealt with definitely isn't. The stereotypes are deliberately caricatured slightly at the beginning, but only so that outward perception can be slowly eroded throughout the course of the film. The wonderful thing about The Breakfast Club is the fact that you both empathise and hate each of the characters as you get to know them. None of them are flawless, all of them could do with a good shake, and most importantly, you have known, or even been, one of them at a point in your life. This is no 'Twilight' or 'Easy A' sketch of attractive teenagers with the occasional flaw thrown in, such as clumsiness or accidentally making people think you'll give out sexual favours for money (a slip-up I'm sure happens to many people...maybe if...no, I genuinely can't imagine a situation where this could conceivably occur.), but one which doesn't shy away from using the real voices of teenagers. Although made in the mid 80s, the stigma attached to talk of sex, fear of being seen as frigid and/or slutty, peer pressure leading to casual drug use, the sense of abandonment and misunderstanding between parents and their teenage offspring encapsulated in the group's discussions is so relate-able it could have been written yesterday. Admittedly, the fashion and music suggest otherwise, but that's part of the charm. I absolutely think this is THE film to watch with new high school friends (if they don't like it, ditch them-they were no good anyway) and with flatmates when you go to university. It is the ultimate bonding film; if you're not smoking a spliff* and dancing on the tables by the end, you're not doing it right. The Breakfast Club is the one American high school film with real universal appeal; if you've met society then you'll know what is like to be boxed and judged before you can even open your mouth.

The Criminal, The Basket-Case, The Jock, The Princess and The Brain

John Hughes was master of the teen movie, and the actors in The Breakfast Club can be seen in a variety of his other films, being part of the group known as the 'Brat Pack'. However, The Breakfast Club is undoubtedly the best of the bunch; it's the one most acutely observed, with the best premise and some of the most quotable lines, the catchiest songs and, best of all, an ambiguous ending. Although all seems perfect, and the Club are one-nil against the world, there is a wonderful question left on everyone's lips, including the characters, as the end credits role: will it last? That last image, the punch in the air of triumph, epitomises what this film is telling us; it doesn't matter, because today is OUR day. 

BEST QUOTE:
'Screws fall out all the time, the world is an imperfect place.'

You might like if you enjoyed:
St. Elmo's Fire, Pretty in Pink, Ferris Bueller's Day Off, Back to the Future

*(I do not condone drug taking, but you understand the sentiment. A little alcohol and some pizza makes a great substitute if you want to make a night of it.)

Directed/Written by: John Hughes

Year:  1985

Starring:  Emilio Estevez, Judd Nelson, Molly Ringwald, Ally Sheedy, Anthony Michael Hall