"....But that's the easy part. There are the Poles, who are possibly
the first version of the movie's story. There's Grace Zabriskie as a
menacing neighbor. There's Julia Ormond's character, first seen with
a screwdriver in her gut and later cropping up as Billy's wife. And,
of course, there are the giant rabbits on a stage -- two on a sofa, a
third ironing (voiced by Naomi Watts, Laura Harring and Scott Coffey).
It could be that these (brown) rabbits are reminders of the White
Rabbit in "Alice in Wonderland," taking Alice down the hole into
bizarre lands. With the strange and terrifying occurrences, the low
ceilings and the non sequiturs, there's more than a whiff of a
threatening Wonderland. But since the rabbits first appeared in
shorts on Lynch's Web site, it may be that he simply likes the image
of people dressed in rabbit outfits.
A possible explanation for Nikki's switch to Sue and back could come
from Lynch's deep-seated interest in transcendental meditation and
the concomitant belief in reincarnation, making the shifts a kind of
transference between lives. But since Lynch believes all things are
ultimately connected, and he himself didn't know what he was going to
add, there may be no true explanation.
Who knows, maybe the reason a group of prostitutes start singing "The
Locomotion" is because Lynch heard it on the radio the day before.
Does it belong? Does it matter, since everything belongs?
The usual Lynch trademarks -- intense close-ups, monumental
headshots, red curtains -- are all here, but noticeably missing are
the deep, rich colors and sharp images. Instead, they're replaced by
murky, shadowy DV, which may give him more freedom but robs the pic
of any visual pleasure.
Lynch's own experiments with music lead to repetitious spooky sounds
and tension-filled noises, repeated so often in dark corridors that
they, too, fail to enhance a mood already gone awry.
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