Written for the 40th anniversary issue of the French quarterly magazine Trafic (Winter 2011). I subsequently introduced a screening of this film at the Centre Georges Pompidou on January 12, 2012 as part of a film series built around this issue, and my introduction (in French and English) can be accessed on video here. For my original review of this film, go here. — J.R.
Am I weeping for the death of David’s mother, for the death of humans, for the death of photography, or for the death of movies?
James Naremore, On Kubrick
The scene in question, the final one in A.I. Artificial Intelligence, features a robot boy, David (Haley Joel Osment), and a cloned duplication of a human woman, Monica (Frances O’Connor), who died centuries before and whom David was still earlier programmed by Monica to love as a mother. These characters are shown going to bed together and falling asleep, the robot for the first time and Monica for the last time, after spending a happy day together.… Read more »
From the January 25, 2007 issue of the Chicago Reader. — J.R.
INLAND EMPIRE ****
DIRECTED AND WRITTEN BY DAVID LYNCH WITH LAURA DERN, JUSTIN THEROUX, JEREMY IRONS, KAROLINA GRUSZKA, HARRY DEAN STANTON, AND GRACE ZABRISKIE
David Lynch’s first digital video, almost three hours long, resists synopsizing more than anything else he’s done. Some viewers have complained, understandably, that it’s incomprehensible, but it’s never boring, and the emotions Lynch is expressing are never in doubt. Asked many years ago about the origins of the nightmarish Eraserhead (1978), his first and best feature, he forthrightly replied, “Philadelphia.” If asked the same thing today about the no less nightmarish Inland Empire, he might say, “Hollywood.”
Many of my colleagues believe Lynch’s best early feature is Blue Velvet (1986), which I regard as a gripping but limited piece of designer porn. Like his more offensive Wild at Heart and his more charming TV series Twin Peaks (both 1990), Blue Velvet offers a vivid illustration of how a man can turn his most lurid puritanical obsessions into clout and big money — and get an audience to wallow in those obsessions without thinking about them very hard. It has little of the meditative integrity and private intensity of Eraserhead, but then little in his work before Inland Empire did.… Read more »