Kurt gave me permission to throw some entries into the Finite Focus series, which he deservedly dominates. I’m directing my efforts toward scenes that I consider Great Cinematic Moments, as well as just excellent or study-worthy individual scenes (mostly because if I didn’t constrain myself, I’d end up just posting random scenes I happen to like, and nobody probably wants that). By a Great Cinematic Moment I mean either a) it’s a moment of such great cinematic beauty, innovation, or transcendence that the scene itself makes one remember again why we believe in the power of cinema; or b) it’s a moment of such importance to the film that it becomes a centerpiece or distillation of the film itself. A lot will probably be both, but my distinction is whether a scene is powerful on its own, or within the context of the film.
The first scene I’ve chosen is both, though it probably fits into category b) a little bit better. I pretty much knew I wanted my first post in the series to be from David Lynch’s Mulholland Dr., a film that completely overwhelms me to the point of speechlessness (and often movelessness, too) every time I see it. But I had difficulty choosing which scene to post – thankfully Kurt saved me the trouble by having already posting the Club Silencio scene (which would get my vote for most overwhelmingly emotionally powerful scene of…a long time – it fits squarely into my first definition above).
Read more and see the scene in question after the jump.
In the scene I’m highlighting, aspiring movie actress Betty Elms (Naomi Watts) goes to her first audition. And nails it beyond all belief. Up to this point, Naomi Watts has been playing Betty a little overeagerly, a little overcheerfully, and a little, well, badly. In addition, we’ve seen Betty practice the audition script with her friend Rita and perform it like a particularly bad telenovela. This audition has every potential of being disastrous, if we take the character of Betty and the so-far-exhibited acting ability of Watts at face value.
But when she steps into the audition room and begins the scene, something happens. She takes the scene, as melodramatic and soap opera-ish as it is, and goes somewhere with it that the lines themselves don’t even seem to suggest. She adds layers of complexity to her character and subtext to her brief set of lines. It’s still a little over the top, but in such a completely different way than the earlier part of Mulholland Drive that it feels profound. And it is. Even on its own, it’s powerful, a stunning example of what Naomi Watts is capable of. Within the context of the larger film, it shows that Watts’s seemingly inept acting up to this point is itself an act, which begins to alert the viewer that not everything is what it seems in Betty’s Hollywood.
I think I can actually leave it there, without any spoilers for anyone who hasn’t seen the film yet. (But if you haven’t, SEE IT NOW.) This scene is a major turning point in the film, showcasing Watts and her ability to carry the rest of the film (which she does), and kicking Lynch’s critique of Hollywood into high gear. Despite how many great and memorable moments there are in this film, for some reason I keep coming back to this one when I think about the scenes that just bowl me over.
If you want to watch it onl1ne for free,...
Breathtaking.
Comment by Andrew James — October 14, 2009
Comment by Jandy — October 14, 2009
But Jandy is right on this scene it is the first magnificent example of ‘layers’ to which the film will start really pealing back from that point onwards.
Comment by Kurt Halfyard — October 14, 2009
Comment by Mike Cavaliere — October 14, 2009
(anyone see his most recent producer-credit “My Son My Son What Have Ye Done?”, I caught it at TIFF this year, he could be onto something, would have been better if he had directed it himself. At times I felt Herzog was trying to be Lynch instead of actually being Herzog)
Is she even capable of something like this anymore? It was a beautiful harmony between the character of Betty as well as Watts real-life career starting to turn for the better…. if she can find a role (or be offered one) to touch on her career and life realities now, she might once again achieve that golden performance.
Comment by Laura Desiree — October 14, 2009
Interestingly, Naomi Watts was just named the most bankable actress in Hollywood by Forbes Magazine (Hollywood Reporter story) – apparently her last three movies averaged about $44 for each $1 she makes. I’d say it’s about time for her to get a really, good meaty role again and remind us all how great she can be.
Comment by Jandy Stone — October 14, 2009
Comment by Kurt — October 15, 2009
Exactly. And he fails miserably. Other than the performances I didn’t like that movie at all.
Comment by Andrew James — October 15, 2009
Comment by rot — October 15, 2009
Comment by Kurt Halfyard — October 15, 2009
Comment by Laura Desiree — October 15, 2009
@rot- I didn’t find it as fast a watch as you… his indulgence in that one got a little exhausting for me. I’ve only seen it once, maybe I’ll sit for it again!
@Kurt- GREAT Performances! I loved the tableaus.
Comment by Laura Desiree — October 15, 2009
Nevertheless, I think the movie’s interesting all the way through and just another example of how thoroughly Lynch can manipulate his viewers to feel just about anything he wants them to.
(Except for in Elephant Man. Ugh…I don’t care what anybody says, that movie bored the hell out of me)
Comment by Mike Cavaliere — October 15, 2009
When Herzog dipped his toe into the Lynchian universe with My Son, I think it just reasserted that what Lynch does, while seemingly chaotic and messy, is actually more difficult to do than it would appear. Its not just have some weird characters doing weird things in a dreamy way, he makes something symphonic out of numinous sensations that at least for me with INLAND EMPIRE had me every step of the way.
Comment by rot — October 15, 2009