It's no Mulholland Drive, but the point of Under the Silver Lake rhymes with themes from David Lynch's masterpiece: that lifetimes of watching others has instructed us in how to be watched ourselves. But that doesn't really do it either. This mix of Film Noir elements, the strangeness of David Lynch, and a stoner film doesn't always work, as Mitchell doesn't know whether to fully embrace his homage to classic Hollywood and its tropes – particularly around his underdeveloped female characters – or to take a more modern approach. It's certainly true that sections of the audience will lose patience with it at different waypoints – some irretrievably. Nods abound to Rear Window. You see Under the Silver Lake is a mystery about how there is no mystery anymore. Shooting in predominantly wide-lenses and framing subjects most often in the middle of the screen, Gioulakis and Robert Mitchell both interrogate their characters and lend cinematic scope to a film that is often shot in cramped apartments and familiar locations (bookshops, bars, on the streets).
But in terms of awkward career progressions, it seems inevitable that the lurch from It Follows to this swollen dramatic sprawl will draw comparison to Richard Kelly's banana-peel slip from the mesmerizing genre-bending of Donnie Darko to the overreaching mess of Southland Tales, which also premiered in competition at Cannes. But the film looks gorgeous and has a surrealist, film noir feel. And have it all directed by David Robert Mitchell, the guy who did "It Follows". The most famous example in this genre is the Coen Bros. When he catches some kids on the street keying cars – including his own, scratching a giant penis on the bonnet – he beats them up savagely and kicks them when they're down. Or maybe it's about finding an excuse for adventure and running with it? In the way the film was building its creepy atmosphere it felt like a David Lynch film, but, at first, I thought it was rethinking the elements in original ways: in that he was being drawn into a mystery and begins an investigation, Sam has a similar position or function as Kyle MacLachlan in Blue Velvet, but I also found his tendencies towards voyeurism to be very creepy and I wondered if he was going to combine MacLachlan with Denis Hopper's character. But now he has been upgraded to a competition slot with latest film Under the Silver Lake: a catastrophically boring, callow and indulgent LA mystery noir. To rate, slide your finger across the stars from left to right.
It's the most Lynchian film I've seen since an actual David Lynch film, but there's also echoes of Hitchcock and possibly Kubrick. Now, four years later, the writer-director has returned with his eagerly awaited follow-up: the paranoia-drenched, through-the-looking-glass L. A. neo-noir Under the Silver Lake. There are also three girls in the group that show Sam where the Songwriter's mansion is. More than anything that has been made so far this decade it truly represents a generation old before their time, who have been let down by previous generations, and is the kind of sprawling artistic statement by a talented filmmaker given absolute freedom that there should be more of.
The first conspiracies is that of the Dog Killer. Like Sam, this comic creator sees hidden codes and conspiracies in the world around him, although he manages to use it to his advantage and profit. The Real Housewives of Atlanta The Bachelor Sister Wives 90 Day Fiance Wife Swap The Amazing Race Australia Married at First Sight The Real Housewives of Dallas My 600-lb Life Last Week Tonight with John Oliver. Often, in noir films, the P. I. is down on his luck, but the level of fault is questionable. Sam wakes up one morning on the grave of Janet Gaynor, the silent actress his mother idolises. READ MORE: Fighting with My Family – Review. Production companies: Vendian Entertainment, VX119 Media Capital, Stay Gold Features, Good Fear, Michael De Luca Productions, PASTEL, UnLTD Productions, Salem Street Entertainment, Boo Pictures. Under the Silver Lake is released in UK cinemas and on MUBI on March 15, 2019. Surreal/psychedelic stoner-noir recs?
Around the point where Sam follows his trail of clues to an underground party and encounters three characters standing drunk at Hitchcock's grave, I suddenly got what the point was, and then had to go back and realign my thinking about the films first hour and prepare myself for what was to come. A much more successful component is the hypnotic and moody soundtrack from Disasterpeace, who offer something much more obviously cinematic in tone than their work on It Follows. He's convinced something nefarious has happened, but isn't sure what. I came to it with high expectations, but the film doesn't meet the picture that's been painted of it on either side of the critical spectrum. Under the Silver Lake hits its stride slightly more often than it stumbles, but it's hard not to admire - or be drawn in by - writer-director David Robert Mitchell's ambition. Within minutes of introducing Sam, it becomes clear that Sam has no life direction and isn't doing anything to change it. Is David Robert Mitchell trying to communicate something to the audience with hidden messages, or is he just trying to bridge the film with reality in an attempt to put the audience in Sam's shoes? In this case, the protagonist is Sam, played by Andrew Garfield. There is no clarification given in the film for what ascension might be. Sam kind of wanders through the underground (sometimes literally) of L. A., going to parties at cemeteries, concerts in mausoleums, rooftop parties featuring the band "Jesus and the Brides of Dracula", watching underground films & meeting the stars, who are also working for an escort service that is also apparently some kind of, that's a lot of stuff going on. After Sam and Sarah bump into each other one night, they hang out, and Sarah invites him to come over the following day. It's populated by familiar types lifted from the movies: the mysterious femmes fatales, the free-spirited artists, the topless, eccentric, bird-raising neighbors, the wisecracking friends, and the grizzled, aimless detective type who finds himself always one step behind a plot that turns out to be much wilder than he could have anticipated. Andrew Garfield disappears down the rabbit hole in David Robert Mitchell's zany LA noir. Under the Silver Lake is best categorized as sunshine noir, not least for its setting.
Sadly, everyone else in the film doesn't get a whole lot more to do, especially the women. He decides to find her and will get in a absurd adventure of indie-bands with hidden messages, millionaires getting killed and escorts wanna be actresses. Director of photography: Michael Gioulakis. But this scene is to end in a horribly misjudged moment of violence. The conclusion to the 'performative knowledge' of paranoid thinking is always exposure without context or praxis, in short, useless, but artists working in this field usually understand that it is the thinking itself that is interesting, or at least the affect that arises through working in paranoid form. He eventually sees Sarah (Riley Keough), one of the other girls living in the apartment complex. In the end, it seems as if the film didn't make any sense and that it watched again, a lot of plot-holes would be found. But the writing is piss-pour; the mysteries and riddles don't make any sense, the resolution couldn't be more unsatisfying, and most of the characters don't even have names.
During my third watch of the film, it occurred just how much was crammed into this film both figuratively and literally. If crackpot ideas and cracked idealism are your bag, then you should most definitely take a dive into the Silver Lake. He tells Sam, "None of it matters. " I'm particularly looking for more films that offer a similar viewing experience, but would settle for book recommendations (recommendations for both would be great! There is a point in the film where you start to think this might be the worst written film of all time, because none of these clues lead anywhere that seems to have the remotest connection with the initial set up. He's made a hipster conspiracy thriller about a guy who goes so far down an existential rabbit hole that it sucked Mitchell down with him. He needs to find her. Then a sequence occurs where "The Homeless King" leads Sam through a series of connecting tunnels seemingly towards some huge revelation only for Sam to arrive behind the refrigerators in a local convenience store. Yes the main character (Garfield, giving a fantastic performance) is unstable, insufferable and a misogynist. Sam meets a neighbor named Sarah, and the next day Sarah goes missing. I don't think we ever find out what Sam's job is. Sam's life finally seems to acquire meaning when he begins to suspect, possibly out of paranoia, that the world of pop culture is actually loaded with encoded messages meant for the more wealthy, those who really run the world. We never really figure out what Sam is doing in LA; he doesn't seem to know either.
Sam is surrounded by artefacts from a past he wasn't old enough to live through, Kurt Cobain posters, Nintendo, old issues of Playboy, and I believe this is absolutely intentional. Throughout the film, emphasis is placed on this individual who is taking and killing dogs. Music: Disasterpeace. And while Mitchell's talent still jumps (hell, it does one-handed look-at-me cartwheels) off the screen, his new film is crammed with so many wiggy, WTF ideas that he seems to have overwhelmed himself. Sam seems to drift through this world without really figuring out what is going on, running into friends and acquaintances (played by Jimmi Simpson, Topher Grace, Callie Hernandez, Grace Van Patten, and many others) and ogling women in a way that both apes old Hollywood and makes it clear how embarrassing it is to be unable to stop. The movie is so awash in Hollywood references, from sly to obvious, that it borders on pastiche, which might provide some cinephile diversion.
He's being evicted from his apartment for not paying rent so we can assume he isn't currently working. Sam sets out find her, ignoring his landlord's threats of eviction. But is she actually dead? It adds complexity that leaves the audience wondering as to the identity of both individuals, and wondering if there is any connection to the overall mystery surrounding Sarah's disappearance. Were events/characters red herrings, or did they have a purpose/meaning that I, on only one viewing, missed? Sarah has two other roommates. There are also glyphs and codes left by a mysterious homeless network which Sam finds a leaflet about. And therein lies the most awkward component of the film: its relationship with gender politics.
An insufferable piece of shit that i think about all the time because it's everywhere. I started to wonder what this meant, what were these cats doing? He tells Sam that he is given messages from someone higher than himself to hide in these songs for other people. The opening beats of the opening song feature the pictures of a unicorn, a tiger, a snake, and a lion. The more Mitchell elucidates his flagrantly complicated plot, the less interesting it becomes. Sam is besotted with Sarah's butt and, after he finds a way to meet her, Sarah herself. Scene after scene is filled with interesting, unique and bizarre characters that I didn't even realise this film goes on for over 2 and a quarter hours, and honestly wished it was longer. At every turn it's the most basic version of what it could otherwise be, and for all its affected indifference it desperately wants you to know it knows this too.
The cat would disappear below the bush for a while and then emerge carrying a single leaf in its mouth. It's exposure for exposure's sake, issues reduced to information, and Mitchell plays it all basic because it is. He overloads the film with allusions and nods (and outright sledgehammers over the head) to Hollywood masters old and new. Clearly wanting to comment on the vicious misogynistic capitalism of the world his characters inhabit, Mitchell's women are portrayed as disposable nude bodies. Disasterpeace's wonderful score references the classic Hollywood work by composers such as Max Stiener and Bernard Herrmann. Functionally, these codes ask the audience to actively participate in the mystery of the film.
If the ambition of the piece sometimes get away from the filmmaker, it is never less than intriguing and enjoyable, anchored by a very strong performance from Garfield. Further conspicuous clues that will factor in later come with the vintage Playboy by Sam's bed and the Nirvana poster above it. This symbol is just one of the many hidden codes and messages Sam stumbles on throughout the film which sends him further down the rabbit hole. Female nudity is liberal throughout, though used as a cheeky throwback to ideas of liberal utopianism which are dealt with more forcefully in the film's audacious (though possibly exasperating) final reel. The simple fact is, it probably means nothing. Despite a clinch which just about counts as romantic, Sam barely knows Sarah, and yet feels enough responsibility to risk life and limb to track her down. Their group becomes their identity.
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