Archive for April 1997
You are browsing the archives of 1997 April.
You are browsing the archives of 1997 April.
The April 1997 issue of Cinefantastique (Volume 28, Number 10) features a cover story on the making of Stuart Gordon’s SPACE TRUCKERS. There is extensive coverage of Davdi Lynch’s LOST HIGHWAY. The issue includes a look back at the best cinefantastique from 1996, along with horror and sci-fi Oscar picks. Other articles cover David Cronenberg’s [...]
A Surreal Meditation on Love, Jealousy, Identify, and Reality.
By Frederick C Szebin and Steve Biodrowski
David Lynch. The name is synonymous to film-goers around the world with the cinema of the abstract, the surreal, and the obtuse. The director of ERASERHEAD, DUNE, and BLUE VELVET, offers his first feature since TWIN PEAKS: FIRE WALK WITH ME. [...]
The Visionary Filmmaker Refuses to De-Mystify his Enigmatic Movie.
Article by Steve Biodrowski
LOST HIGHWAY has many moments that clearly identify it as a “David Lynch Film,” but that film did not spring from his mind alone. Having written many scripts on his own, what did he hope that co-writer Barry Gifford would add? “It’s action and [...]
Making Your Blood Run Cold, Again.
Robert Blake has made a career out of playing realistic, believable characters, whom audiences can as regular, ordinary people – whether a poor young boy in THE TREASURE OF SIERRA MADRE or a streetwise cop BARETTA. In fact, in his most famous (and chilling) feature film performance, he portrayed a real [...]
David Lynch has often been quoted describing ERASERHEAD as “a dream of dark and troubling things.” Since that 1978 debut, he has gone on to adapt his dream-like sensibility to far more accessible narrative structures. No matter how arresting the imagery is in The Elephant Man and Dune, and no matter how weird things get in [...]
This 1997 effort from David Lynch (co-written with Barry Gifford) is one of the director’s better efforts, but it failed to earn the same rapturous critical reception as BLUE VELVET. Reviewers seemed to see only a rehash of familiar Lynchian motifs, and ignored how expertly orchestrated and synthesized the themes had become in this film. [...]