Oh, where to begin with Inland Empire?
For starters, this is Lynch’s most unsettling and s-c-a-r-y work; images, sounds, and sequences have already begun worming their way into my brain, which has been drunk on Lynchian fare as of late. Inland Empire is best divided up into two segments, the first hour and the last two hours; the first hour is standard Lynch with touches of occasional humor whereas the last two hours explode into a smorgasbord of surreal nightmares…
If the synthesis of sound and picture could ever serve as an adequate replacement of the spoken word, Barry Lyndon is proof of such a marriage between the senses of hearing and sight.
Kubrick is at the peak of cinematography, storytelling, direction, and his oft sardonic treatment of characters/subject-matter here; this is his picturesque masterpiece, accompanied by painterly strokes of visual splendor behind every landscape shot and zoom of the camera.
Next to the strict usage of natural lighting, fishing…
RIP to the GOAT. My fav and everything he stood for eternally lives on in this movie, with beautiful blue skies and golden sunshine all along the way.
I didn’t even know that a “circular controller” was exclusively created for The Shining and Wendy Carlos herself seems to be a very impassioned, insightful figure of the early synth scene. Shame she never did movie scores after Tron as her layered synth work gave the films she collaborated with such a unique tone and vibe.
