David Lynch should be hated just because he needs to be loved.
Well, and a little for the fact that any educated people mumble: "Oh yes, Lynch is cool."
The truth is, as always, a little more complicated.
In reality, David Lynch is a director devoid of any empathy, sense of humor and, I'm afraid, the ability to tell a simple story, but on the other hand, he has fallen head over heels in love with the cinema itself almost from childhood.
We have already seen another such lover - his name is Tarantino, but Quentin has talent, passion, Americanism and inner fire.
Lynch is a biomechanism that has been trying all his life to transfer his imaginary Europe into American cinematic realities.
And what else can he do - he was born and spent all his childhood in the beautiful and dull northern outback of the United States.
His whole city of Twin Peaks is practically the same place.
His Scandinavian-Protestant ancestors will knock any creative sinful impulses out of anyone with their religious dogmatism.
You can, of course, say that he is a real man of the Renaissance - he draws, takes photos and films, plays and writes music ... And what else should a young man from the provinces do when he enters an art school in Boston, which is still a place ?
But there is an absolutely fantastic museum with a great collection of European art.
Actually, Lynch is an artist turned filmmaker.
And he immediately realized that if the drawn pictures move, then this is magic.
Something “above reality” is sur réalisme.
Surrealism is not the most popular trend in America.
Local practicality and an orientation towards success at any cost fundamentally exclude true surrealism, a child of an ever-degrading Europe.
And it is no coincidence that the most real local surrealists realized themselves only in animation.
Tex Avery, whom you know from funny cartoons, was, for example, a deep surrealist - any dog in Pennsylvania will tell you that.
Or, for example, Joseph Cornell, who followed the same path as Lynch, only half a century earlier: sculpture, collage, cinema - surrealism.
Already in 1936, during an exhibition of surrealists at the MoMA in New York, where Salvador Dali himself arrived, Cornell showed the animated "Rose Hobart".
In the head of Cornell's creativity are the legs of Lynch's creativity.
The Academy of Arts, in general, played a cruel joke with Lynch: it showed him that real art was somewhere out there, in Vienna and Brussels, and even then for a long time.
It is no coincidence that he was so annoyed by the American Academy that he and a friend dropped everything and rushed to Europe for three years to see and understand.
First of all, we went to Salzburg to hang out with Oskar Kokoschka himself, but the legend of Viennese expressionism, a painting professor, somehow escaped meeting with young Americans.
And the immersion in Europe was over in a couple of weeks.
Since then, he has been sore.
He painted his first film, Six Puking (Six Times) - absolutely surreal, in Andre Breton's terms, and all the graphics are from there.
But one guy named Bart gave him as much as $ 1000 so that he could rent something else.
Lynch bought himself a dream camera and screwed up the project.
But he was able to make a half-animated, half-alive "Alphabet" based on the nightmare of his own relative.
Illustrating dreams is a typical technique used by the classical surrealists.
The topic of appeal to the subconscious is the same.
It was useful to him throughout his career - because any delusional scenario and breaks in the narrative can be easily explained by "appeal to the subconscious."
Hi Luis Buñuel.
Your Andalusian Dog is the quintessence of Lynchianism.
The film "Granny", also half-drawn, half-alive, funded by the newly organized American Film Institute - as much as $ 5,000.
But everything drawn by Lynch is so reminiscent of the graphics of Terry Gilliam, another American surrealist, to the TV show Monty Python's Flying Circus, that it becomes clear: America has enough of one surrealist.
Just for show.
The second will not be here - the whole place will be taken by Lynch for many years.
Gilliam was lucky - he merged into Britain and from there became famous.
The attempt to study cinema in LA also did not work - he wanted to shoot, and he shot Eraser Head for a year.
It contains the whole future Lynch from keel to klotik: checkers on the floor, dialogues that can be substituted for any other Lynch film, ugly creatures, black blood, "unusual" angles and super-contrast, known to every young photographer.
And, of course, the music of the black organist Fats Waller from the 1930s.
Lynch even wrote lyrics to his music so that a strange girl in the spotlight sang in the frame.
Since then, this strange girl in various guises will definitely sing in his movies.
Because this technique allows you to achieve an emotion that cannot be achieved by its meaningless narrative.
People remember half of his films only for this song - be it Roy Orbison's song, or Llorando in Spanish in Mulholland Drive performed by Rebeca del Rio, or Isabella Rossellini singing Blue Velvet in Blue Velvet.
Yes, and without Julia Cruz's song, the entire Twin Peaks would have fallen apart on the distant approaches to molecules, because the script is simply not there.
But then there is the creative method of David Lynch - the only recognized and paid surrealist in America.
It consists in providing the public with such nonsense that the public has no choice but to think out, invent and fantasize what it would mean and who killed Laura Palmer.
He himself doesn't know who killed Laura Palmer.
If you want - consider that a pervert-dad, and if you want - that the atmosphere of hatred.
Any intelligible project Lynch fails miserably.
He was given to make "Dune" in order to earn money for Dino de Laurentiis on the hype around "Star Wars" - he took off an unbearable nightmare in minus tens of millions of dollars.
He was given the opportunity to film "Hotel Room" for HBO - he removed the unbearable slag.
Because the "democratic" nature of television and "this is all" of Lynch are absolutely incompatible.
He walked the fine line of nonsense and watchability only a couple of times - in "Mulholland Drive" and in "Lost Highway" with the trendiest soundtrack from Trent Reznor.
And of course, with Marilyn Manson - a kind of Lynch from rock music, who also suffers from the impossibility of transferring Weimar cultural debauchery to American Columbina.
Manson is not Kurt Weill with Berlin whores and pianos, and Lynch is not Andrzej uławski and other crazy Poles.
If only because, no matter how hard Lynch tries to catch the “Polish wave of cinematography,” he never gets to work with such duets as Romy Schneider and Klaus Kinski (in “The main thing is to love,” for those interested) - this is where the really crazy people.
Lynch got only Laura Dern and Nicolas Cage - both with the charisma of sand-lime brick.
Lynch, of course, is a hard worker.
Failing so many films and costing $ 70 million at the same time takes a lot of work.
To break through American inertness, to create for oneself the aura of the main avant-garde of American cinema, to constantly remain in the focus of attention and protect yourself from the opinion of the ochlos ("How can you not understand Lynch? He is great!"
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I understand that colleagues would most likely ask Lynch upon meeting who killed Laura Palmer.
I didn’t - we talked with him about a few of his works that I like: his video for the song by Chris Isaac to his film “Wild at Heart” (with the same monstrous acting duo Dern - Cage) and “The Elephant Man” - a film , in which he told a story for the first and last time, and did not pour a basket of fake riddles.
And all the same, I did not understand why he so conquered the Odessa hokhmach Mel Brooks, who, seeing the "Eraser Head", rushed to hug him with delight and gave the money to work further.
Some people just don't have a sense of humor.
Perhaps I have.
The point of view of the author may not coincide with the position of the editorial board.