Author Topic: The Straight Story  (Read 5061 times)

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Stefen

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The Straight Story
« Reply #15 on: March 15, 2004, 11:03:01 PM »
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Quote from: Jeremy Blackman
Is it wrong that I thought this movie was hilarious?


Yes. Go see the passion.
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NEON MERCURY

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The Straight Story
« Reply #16 on: March 16, 2004, 09:17:25 PM »
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Quote from: Jeremy Blackman
Is it wrong that I thought this movie was hilarious?


..it does have its moments......(i.e. deerlady)......



and the ever popular .."quick !!!, whats the number for 911?!"

Jeremy Blackman

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The Straight Story
« Reply #17 on: March 16, 2004, 10:03:11 PM »
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Quote from: NEON MERCURY
Quote from: Jeremy Blackman
Is it wrong that I thought this movie was hilarious?


..it does have its moments......(i.e. deerlady)......



and the ever popular .."quick !!!, whats the number for 911?!"

I was thinking more about the supposedly serious moments, like the heart-to-heart meetings with suburban midwesterners. In the same way the beginning of Blue Velvet is funny.

Although I have to admit the WW2 scene and the final scene really worked as sincere moments...
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LostEraser

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The Straight Story
« Reply #18 on: April 07, 2004, 07:38:06 PM »
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I actually don't find this film to be a departure for Lynch at all. And just because the actual script wasn't written by him, doesn't mean that it is not 100 percent a Lynch film. I find Alvins journy in this film to be very similar to Jeffry's in Blue Velvet, Henry's in Eraserhead, or Sailor and Lula's in Wild At heart. They are all just tryijng to solve their own problems and find love. SS just uses the subject of old age and brotherly love, rather than sex and the dark underbelly of america as in the other films I mentioned. It is certainly a Lynch film from start to finish. Sometimes I even think it is his most "Lynchian". Lynch, himself, has said that he considers it his most experimental film. And I don't think he says that because it was a departure for him. I think he says it because he used almost all the themes and feelings he has used in most his other films, but was able to explore them a little further in SS.
Capra tells us that, in effect, love's dreams are only dreams and that they will never quite bear translation into practical forms of relationship and expression. They will never be realized in the world but only in our consciousness and in our most daring and glorious works of art - but that, for Capra, is no reason to abandon love's dreams.
--Ray Carney, American Vision: The Films Of Frank Capra

NEON MERCURY

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The Straight Story
« Reply #19 on: April 07, 2004, 11:36:17 PM »
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Quote from: LostEraser
I actually don't find this film to be a departure for Lynch at all. And just because the actual script wasn't written by him, doesn't mean that it is not 100 percent a Lynch film. I find Alvins journy in this film to be very similar to Jeffry's in Blue Velvet, Henry's in Eraserhead, or Sailor and Lula's in Wild At heart. They are all just tryijng to solve their own problems and find love. SS just uses the subject of old age and brotherly love, rather than sex and the dark underbelly of america as in the other films I mentioned. It is certainly a Lynch film from start to finish. Sometimes I even think it is his most "Lynchian". Lynch, himself, has said that he considers it his most experimental film. And I don't think he says that because it was a departure for him. I think he says it because he used almost all the themes and feelings he has used in most his other films, but was able to explore them a little further in SS.



 8) .. damn, you know your lynch..we need more of your kind around here....

Pubrick

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The Straight Story
« Reply #20 on: April 07, 2004, 11:39:48 PM »
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Quote from: LostEraser
I actually don't find this film to be a departure for Lynch at all. And just because the actual script wasn't written by him, doesn't mean that it is not 100 percent a Lynch film. I find Alvins journy in this film to be very similar to Jeffry's in Blue Velvet, Henry's in Eraserhead, or Sailor and Lula's in Wild At heart. They are all just tryijng to solve their own problems and find love. SS just uses the subject of old age and brotherly love, rather than sex and the dark underbelly of america as in the other films I mentioned. It is certainly a Lynch film from start to finish. Sometimes I even think it is his most "Lynchian". Lynch, himself, has said that he considers it his most experimental film. And I don't think he says that because it was a departure for him. I think he says it because he used almost all the themes and feelings he has used in most his other films, but was able to explore them a little further in SS.

yes,. good stuff there. it was lynch turned inside out.
endless 'nothing is what it seems'-isms

SHAFTR

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The Straight Story
« Reply #21 on: April 08, 2004, 01:27:32 AM »
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Quote from: LostEraser
I actually don't find this film to be a departure for Lynch at all. And just because the actual script wasn't written by him, doesn't mean that it is not 100 percent a Lynch film.


that doesn't make sense, you are saying that it's 100% Lynch?
I guess True Romance is 100% Tony Scott.

PS:  I'm not saying the film doesn't have themes of a Lynch film, but the fact remains that the project wasn't his...he just came in and directed it.  I think it's ridiculous that you give no credit to the writers.
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LostEraser

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The Straight Story
« Reply #22 on: April 08, 2004, 02:03:05 AM »
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Quote from: SHAFTR
Quote from: LostEraser
I actually don't find this film to be a departure for Lynch at all. And just because the actual script wasn't written by him, doesn't mean that it is not 100 percent a Lynch film.


that doesn't make sense, you are saying that it's 100% Lynch?
I guess True Romance is 100% Tony Scott.

PS:  I'm not saying the film doesn't have themes of a Lynch film, but the fact remains that the project wasn't his...he just came in and directed it.  I think it's ridiculous that you give no credit to the writers.


Oh no, no, you misunderstand me. I know that film is a collaboration and I think that if all the colaboraters of the film give their all to it then it is 100 % of all of them. So SS is also 100 % Mary Sweeny just as much as it is 100 % David Lynch. Does that make any sense? lol! hmmm... maybe not.

I guess what I mean is, Davuid Lynch put 100 % of his creative energy into SS just like he did with all his other films. Just because he didn't write the film himself doesn't mean that it's less personal to him as an artist.

David has often said that even when he writes a film himself it isn't really his own idea or story anyways. The story just came about and he doesn't know where it came from. He just caught it in his brain somehow. He describes it kind of like fishing. So no matter where he gets his stories form - his own head, books, or scripts written by other people - if he falls in love with that story he gives it 100 % of himself as an artist. And SS is no different.
Capra tells us that, in effect, love's dreams are only dreams and that they will never quite bear translation into practical forms of relationship and expression. They will never be realized in the world but only in our consciousness and in our most daring and glorious works of art - but that, for Capra, is no reason to abandon love's dreams.
--Ray Carney, American Vision: The Films Of Frank Capra

Leao

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The Straight Story
« Reply #23 on: February 05, 2005, 11:10:50 AM »
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Are their any books analysing the Straight Story?

Leao

 

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