kultura / culture
Nominated four times for an Academy award, Lynch only received an honorary lifetime achievement Oscar in 2020 When it comes to Twin Peaks – as a series, then a film, then a series again (culminating with 2017’s season three) – it prompted a genuine revolution in American television when it hit screens in 1990. With the plot un- folding around an investigation into the mysterious mur- der of a high school girl in a small, dark town in Wash- ington state, the series aired on ABC and exposed taboo topics that were previously considered disturbing. Lynch drew on the character of Lolita to create his protagonist Laura Palmer, and Twin Peaks forever changed the se- ries format and became one of the most beloved mys- teries. “Who killed Laura Palmer? Bob! And who is Bob?” Analysing Lynch’s creativity must be approached through the artists and films that inspired him, such as An Andalusian Dog by Luis Buñuel and Salvador Da- li, Federico Fellini’s 8½, Billy Wilder’s Sunset Boulevard, Ingmar Bergman’s Persona, Alfred Hitchcock’s Vertigo, Stanley Kubrick’s Lolita and Victor Fleming’s The Wiz- ard of Oz. This list is like a jigsaw puzzle for cinephiles, one that fits together perfectly when viewed as a whole. Lynch elicited the deepest emotions from his characters and played with the subconscious and, above all, dreams, which were his favourite motif. Lynch was capable of making his viewers feel un- comfortable, but not by using the shock effect, rather by compelling them towards the kind of introspection that most people avoid. His films often include the trope of a female character with existential problems who is on a quest for self-identity. Such is the case with the trag- ic Norma Desmond in Sunset Boulevard, whose tale in- cludes elements of Kafka’s The Trial; the Mulholland Drive character of Betty, aka Diane (portrayed masterfully by Naomi Watts), endures the torments of Hollywood in the form of the dark forces and ill-fated characters that surround her, struggling unsuccessfully against a closed circle ruled by intrigue and playing with human lives. A similar fate is experienced by Inland Empire’s charac- ter Nikki Grace/Susan Blue, portrayed by Laura Dern. When it comes to genre, it’s very difficult to deter- mine Lynch’s specialty… We could perhaps simply refer to his own unique genre as “Lynchian”. His works all simul- taneously contain elements of tragedy, comedy, horror, satire and thriller, expressed in different ways in each of his films. He had a tendency to use the same characters in multiple projects, thus creating a kind of universe of his own in which human destinies intertwine. It all be- gan with 1977’s controversial Eraserhead, only to contin- ue with The Elephant Man, arguably Lynch’s most con-
Četiri puta nominovan, Linč je tek 2020. godine dobio počasnog Oskara za životno delo
The immortal David Lynch Legends don’t die From the surreal scenes of the
classic Eraserhead, via the disturbing suburban nightmare of Twin Peaks to masterpieces like Mulholland Drive and Inland Empire, Lynch’s cryptic works turn the American psyche inside out to reveal its deepest, darkest dimensions
kompleksnim likovima, nižu se maestralni filmo- vi poput klasika „Plavi somot“ sa Kajlom Meklahla- nom i Izabelom Roselini, koji mu je takođe doneo nominaciju za Oskara za režiju, uprkos vrlo pola- rizovanoj reakciji publike i kritike. Nakon višego- dišnje reevaluacije film se danas smatra remek-de- lom ne samo osamdesetih godina prošlog veka već i Linčovim neo-noar klasikom. „Divlji u srcu“ sa Lorom Dern i Nikolasom Kej- džom je na velika vrata uveo Linča na evropsko tlo, gde je na Kanskom festivalu osvojio Zlatnu palmu za najbolji film. Čak se i film „Tvin Piks: Vatro, hodaj sa mnom“ našao u konkurenciji za Zlatnu palmu dve go- dine kasnije. Linča nije zavolela samo francuska kri- tika i publika (iako jesu njegovi najvatreniji fanovi) već i ostatak evropskog kontinenta, koji je u preta- lentovanom američkom reditelju uvideo senzibilitet vrlo redak u Holivudu, a blizak raznim evropskim ki- nematografijama. Takođe, Linča je izdvajalo i pozna- vanje istorije umetnosti, iz koje je neiscrpno izvla- čio nove motive i ispisivao nove strane svoje istorije. Sledeći film, „Izgubljeni auto-put“, možda je naj- više podelio ljude u njegovoj karijeri. U svoje vreme je bio neshvaćen i opisan kao pretenciozan bez sa- držine. Tek godinama kasnije stekao je status kla-
sika, naročito zbog nezaboravnih uloga Bila Pulma- na i Patriše Arket. Svi ovi filmovi, motivi, snovi, sve naizgled komplikacije, vodile su pretposlednjem fil- mu „Bulevar zvezda“, kojim je lansirao karijeru Nao- mi Vots. Njena uloga u ovom filmu smatra se jednom od najboljih i najkompleksnijih, a opet nedovoljno za- paženih. U „Bulevaru zvezda“ susreli su se svi nadreal- ni elementi Linčovog univerzuma, svi snovi su otvorili vrata javi. Film je najrealističniji prikaz Los Anđele- sa i nemilosrdnosti Holivuda, pogotovu prema mla- dim, naivnim devojkama koje pokušavaju da uspeju po svaku cenu. Poslednji Linčov film, „Unutrašnje car- stvo“ eksperimentalni je tročasovni psihološki triler koji je u potpunosti sniman digitalnom kamerom, a u kom glavnu ulogu tumači njegova muza Lora Dern. Treća sezona serije „Tvin Piks“, podnaslova „Po- vratak“, zaokružila je sve što je ikada ostalo neodgo- voreno, nedefinisano i zbunjujuće, kroz fantastične elemente satire, tragedije i urnebesne komedije. Ipak, svim ljubiteljima Dejvida Linča, osim maestralne fil- mografije, preporučujemo njegove čuvene vremenske prognoze koje možete naći na Jutjubu. Čisto da ma- lo odagnamo tugu u srcima svih nas koji smo ga ceni- li i zbog njega se iznova i iznova zaljubljivali u film kao umetnost.
H ow to begin any article about the veri- table renaissance artist that was David Lynch, a man so unique that his influ- ence can be seen and felt in the works of many filmmakers, from the likes of Cronenberg and Takashi Miike to Yorgos Lanthimos and many others? Like some being from another planet, Lynch was devoted entirely to his art – from directing, scriptwriting, composing music and editing, to paint- ing and transcendental meditation. His films have been viewed either as works of genius or as pointlessly pre- tentious and unnecessarily complicated.
36 | Legende » Legends
Legends » Legende | 37
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