That David Lynch made a film as a true history may indicate that his sinister ideas have exhausted him or wants to demonstrate that it can also be a politically correct director integrated gear system. A story that is as simple as that of a man leading his mower to a brother that is not spoken for years, and you just suffer a spill, not approaching or close the story lattice of films that make up the former Filmography of the director. The most surprising thing is that Lynch succeeds in imposing its style, Although in form contained, and create one of his most personal films.
In the beginning, as at the end, his particular style is made clear in a tangible way. Of an endless black sky camera moves to the limited space on a window painted in blue inside of which there is only darkness. On the way, the American heartland, rustic and vulgar looks out onto the screen from the garden in which a woman takes the Sun. Then, Lynch is immersed in a road-movie of open spaces in which the camera moves away from the characters and tries to capture the whole of the environment in which it is immersed.
The simplicity with which the story is narrated contrasts with Mannerism that characterized his previous work. But there is a character limit as the portrayed by Sissy Spacek, the road through which circulates the protagonist or unconnected situations such as the deer run, the fire drill of firefighters and twins who arranged you mower with which Lynch prints his personal stamp to a plot which in the hands of another director had become a succession of melodramatic events. Lynch returns to find the best breeding ground to give free rein to his particular creative universe in the American family. In this way, throughout the film occur one after another family history. Since it directly affects the protagonist until those that are towards the end of the journey or the young man who is on the road and the way of presenting it scale between admiration and a refined irony.
The whole benefits even more by the interpretive work of its protagonist, Richard Farnsworth, upon which rests the main weight of the film. Also, the music of Badalamenti is another indicator of the cinema of Lynch varnishing the sound space with its peculiar compositions.
N.A., for www.zinema.com