FantasticFest2022 documentary shows how the Wizard of Oz shaped the Blue Velvet director.
, was wisely built on getting out of the way and letting the maverick master speak.
But he would not have that opportunity with his latest subject. David Lynch, historically, has had no interest at all in explaining his work or his influences . Instead, he would rather discuss his philosophy of filmmaking, or show off his infamous collection of Woody Woodpecker dolls. Philippe's solution is two-fold. Firstly, take a singular line of engagement with his body of work – the recurrent referencing of the 1939 film version of, a discussion of Victor Fleming's Technicolor musical fantasy by filmmakers and one lone critic, Amy Nicholson.Lynch/Oz
is the next stage in academic ambition: a journal, consisting of six essays by other essayists. Joining Nicholson, who really writes the introduction via the importance of a single noise in the opening of, are six filmmakers, each with their own thesis. Karyn Kusama, for example, goes for the thematic resonances between Dorothy's journey home and Diane's delusions in.
Lowery has a point, and it's bold of Philippe to include an argument that comes painfully close to dismantling the whole reason for the film. True, it's both accurate and a little obvious to seeas proof of their interwoven histories . Maybe it would be more daring and intriguing to look at Lynch's version of the 1950s, of corruption under suburban perfection.
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