"....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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