Ah, that actually makes some sense! So do you think his murder is "real" or a scene from the movie? (Brutal fucking murder, eh?). And if the murder IS real, why is Lost Girl still alive?

Which reminds me: although at first we're told that the leads were murdered, aren't we later told that, in fact, nobody really knows what happened to them?

I agree that the moustache man is the lead actor. I do not think the Lost Girl is the other lead...

The other lead could be the Polish woman who talks to the Phantom on the street. This scene, though, seems to imply that SHE is the murderer - the murder scene occurs right before this street encounter. Why she seems to be the lead to me, now, is that scene where the Whore Duo appear in Poland and laugh at her, which parallels what's happening on the Hollywood strip.

The Lost Girl slept with someone else, this is clear. But so did her husband; i think the prostitutes represent the women he's slept with. Her husband leaves to work for the circus AND to be in the film 47. In Poland, the husband witnesses the Phantom  hyptnotize SOMEONE  to kill the leads. What's weird is that the scene where they are killed SEEMS TO BE PART OF THE MOVIE.  And if you think about it, the scene where LAURA IS KILLED IS ALSO PART OF THE MOVIE. So this whole business of the leads being killed....is actually part of the movie? And so, it's really a symbol of the actor's identity being annihilated.

 Okay, I'm confusing myself now.

This would look good on your wall.

-Noah- 

This would look good on your wall.

-Noah- 

"Every day holds a new beginning and every hour holds the promise of an Invitation to Love." 

That god damn trailer's more popular than Uncle's Day in a whorehouse!

they actually might be seen in 47. If we accept that the moustache man is NOT the husband (he might be, the faces are blurry to me now), we have to examine which polish scenes are 47 and behind the scenes. There is a sound of a record scratch behind alot of the polish scenes, which tend to have an orange tint to them.

And yet...could we argue that there IS NO DIFFERENCE between what is the film and what is not? isn't that sort of the point of INLAND EMPIRE? What makes me think this is that the murders that we're told happened to the actors HAPPEN IN BOTH THE AMERICAN AND POLISH FILMS. 

This would look good on your wall.

-Noah- 

another thought, Laura patient.

The reason i think Lost Girl exists not just in the hotel room is that her husband has a prominent role later on in the polish sequences with the older polish men. He is also trying to kill the Phantom. Moreso, Grace in the beginning asks Laura if her husband is involved with the film, which is another way of saying 'did you know that hewas involved with 47'? I do think that the Lost Girl creates much of what she sees on the tv, but what she creates reflect a life she does have that is connected to poland, the circus, the husband, the phantom, the polish girl, and to the suburban house. 

This would look good on your wall.

-Noah- 

This would look good on your wall.

-Noah- 

Roland Kermarec

Brilliant, brilliant stuff, Mrs Tremond and smokedchez! I particularly liked the bit about "the actor's identity being annihilated". As far as the fate of the two original leads goes, I'm afraid I can't remember if I definitely heard someone saying that they weren't necessarily murdered - I've only seen the movie once so far, but it comes out on general release here in the UK tomorrow, so this time next week I will have seen it at least three times, probably more! I'll keep an eye out and let you know if I notice anything to that effect.

Smokey, I agree about the Hollywood Bvd scene - it is utterly sublime.

LWAPOM, I'm interested in what you said too - you seem pretty sure which scenes were from the original 4/7 and which weren't, are you basing that on anything in particular? I definitely think there is some relevance to the scratchy soundtrack in the Polish scenes. Or are you just assuming that all the scenes in Polish are from the original movie?

"Every day holds a new beginning and every hour holds the promise of an Invitation to Love." 

That god damn trailer's more popular than Uncle's Day in a whorehouse!

Finally got to see this tonight in Dublin. During the viewing I tried not to analyse it too much, I was more focused on getting into the feel of it. It left me with many mixed emotions.

Some scenes in this movie really left me amazed, others not so much. My favourite part is the introduction...all I can say is it is pure genius in its execution.

Can't wait for a 2nd viewing later this month for an *attempt* at deciphering it...

That crossed my mind, too, and it seems to make sense... sort of! It'll be interesting if someone manages to "crack" this movie and help us all sort throught the major themes. Compared to Inland Empire, Mulholland Drive is a completely straight forward movie!

Anyone else notice that Charlene was in the movie? 

Finally got to see this myself today - a truly mesmerizing and original cinematic work. From what I got on my first, and so far only viewing (here's hoping I get a chance later in the month!) - it's the story of Nikki re-evaluating herself by means of the script of High on Blue Tomorrows by retreating into her mind, and getting slowly drawn into the reality of the film and transposing herself onto the character of Sue. Nikki is secretly deeply unhappy and unfullfilled due to her unsuccessful career and her relationship with her domineering husband, (that only worsens in her mind when she sees him threatening Devon in their mansion) - and all her worries and insecurties arising from the current situation in her life. Nikki begins to force herself into the story of High On Blue Tomorrows, begins a relationship with Devon, and casts her husband (in her mind) as the husband of Sue in the film.

At the film's end, she confronts all the darkness and evil in her life (as represented by her face transposed over The Phantom), and emerges from that confrontation a more, happy fulfilled person - as seen by her sitting on the couch at the film's end. With regards to the character of "Lost Girl", I believe it the actress who preformed in the original film - who perhaps also got sucked into the metaphyscial fabric of the story - that Nikki freed after confronting their mutual enemy The Phantom. (That's why Lost Girl is watching the film, she is so far trapped in the story she cannot get out). The rabbits I think, represent, the inhabitants of the space between the worlds of Nikki and that of the film. They are the guides through this world, and do their best to help her, notice hold the rabbit in the suit sits at the desk where Nikki finds the man in glasses - they are the same being. Notice how Nikki had to walk through a series of red curtains to walk up the stairs, and enter the office with the man in glasses\suited rabbit, perhaps the rabbits represent the Little Man From Another Place and The Giant of the world(s) of Inland Empire. I agree with the interpretation that the credits scene is the equivilant of the final scene of FWWM, and is a celebration of Nikki emerging from her struggles - also loved the throwbacks to other Lynch's work. (And well done to whoever copped the monkey was a reminder of FWWM, it's my favourite Lynch film and I never thought of that!)  

Also, loved the typically underrated (by the professional critics anyhow) Lynch-ian humour of the film, particularly involving Harry Dean Stanton and the "Do The Locomotion!". Loved also the inclusion of people from previous Lynch works who appeared briefly, such as the aforementioned Stanton, Diane Ladd, Grace Zabriskie, and a the inclusion of Laura Harring in the credits. Is the lumberjack a reminder of Michael J. Anderson in the Industrial Symphony? (Also, what do you reckon Harring's kiss to Dern signified?)  

-- Gerry

the black dog runs at night

The kiss, IMO, was just to congratulate Nikki on a succesful and challenging role.

It has to be said over and over again, Laura Dern was magnificent in this film.

I definitely agree 100% with the theory that the Inland Empire of the mind is where Nikki is going in order to play this part 'for real' . After all it is the 'diving within' process which lynch undergoes himself in order to get his ideas for films.

Absoloutly, it's an incredible, multi-textured preformance.

-- Gerry

the black dog runs at night

I officially postulate that this movie is not intended (for me) to be analyzed in its plot details.

Moreover, now that a few weeks have passed since I've seen it (twice) I can just remember how incredibly genuine and new it looked and, I must say, the final sequence is one of Lynch's best, absolutely. I almost never stay in the theatre as the end credits roll if there are no images in the background or a catching music. This movie reaffirms the importance of staying in front of the film until the very last frame. Reasons? Well, just in the name of the crew member's respect and because you can find out interesting things. And that dance party scene is amazing, breathtaking...

But what's with the guy working with that saw? Another weirdo added up in Lynchtown, I guess... 

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

Letsroque, let me say this.

You are free to be a bitter and twisted person, but not when you go see a Lynch film because it doesn't want to play with your head but with your senses. I'm sure your senses liked the film overall. You still can be a stonehearted bitter twisted mouth when it comes to review films like Saw III or Indiana Jones IV.

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

 Hi - I can finally answer this question for you, Mrs T!

It's the scene after the one where Laura says "Damn! this sounds like dialogue from our script", and before the sex scene with "Strange what love does". Devon is talking (to his agent?), and we come in on them halfway through a conversation. The agent begins by saying something like "the truth is, nobody knows what happened to them"....he then goes on to talk about how there are always rumors like this in Hollywood. He finishes up by saying "there is no proof that anything bad happened around this film".

So there it is!

I got to see IE again yesterday, but I'm not very well at the moment, and I probably should have waited till I was feeling a bit better! I don't have much new to add at this point...

[quote]"the truth is, nobody knows what happened to them"[/quote]

Seems like something bad could have (and most likely did) happen(ed) to them. 

 I've no idea how you reached that conclusion!

One fascinating thing about IE is how most viewers will simply project their own desires onto the narrative. Which in my opinion is akin to trying to tame a lion. You'd need to be pretty damned good with animals to do that.....