Review: As is frequently pointed out in this fitfully observant, frustratingly repetitive essay, David Lynch has often referred to “Oz,” either explicitly or within the symbolic systems of his movies.
As is frequently pointed out in this fitfully observant, frustratingly repetitive essay, Lynch has often referred to “Oz,” either explicitly or within the symbolic systems of his movies. In one of several clips of the director’s past speeches and appearances, he admits a day doesn’t go by when he doesn’t think about “The Wizard of Oz,” a foundational text for anyone preoccupied with the unconscious, transcendence, dualities and dream logic.
In other words, it’s no surprise that Lynch was influenced by “Oz.” But in the hands of director Alexandre O. Philippe, the idea is treated like holy revelation. In segments narrated by critics and filmmakers, Philippe uses the scaffolding of the Lynch-“Oz” connection to construct a complicated but ultimately simplistic edifice of explanations and comparisons, which winds up crashing down from its own pretentious weight.Still, amid the rubble, there are artifacts to value.
In gorgeous diptychs reminiscent of Christian Marclay’s sound-and-video installations, Philippe juxtaposes images from “Oz,” Lynch films and dozens of other movies, setting up some tantalizing visual and thematic breadcrumb trails. But with that sheer volume, his central thesis inevitably weakens. Viewers are left with the impression that few movies aren’t influenced in some way by the aesthetic and psychological underpinnings of “Oz’s” fantastical world building.
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