She lives in a massive castle, she has all the clothes and whatnot that she desires and one day he goes off on a business trip. He picks a lucky girl and she has everything she could possibly want. He wants a new wife and the women in the village jump at the chance, even though they are spooked by his weird beard. Mulholland Drive achieves the perfect and seamless balance between those two styles.Ĭoincidentally, Mulholland Drive reminds me of the French Fairy tale, Bluebeard, first committed to print by Charles Perrault in 1697.īluebeard is the tale of a very rich but mysterious recluse with a big blue beard. Blue Velvet was Noir heavy with its many scenes of shadowy men lurking in shadowy alleys, doing shadowy things.
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Wild at Heart was Fantasy heavy with its obvious homages to The Wizard of OZ. This is how he weaves his cinematic spell. There is grit and there are dark dealings but there is also a healthy dose of fantasy and dream logic to balance it out. She does not try to appear perfect and I love her for that.ĭavid Lynch’s films are a hybrid between two opposite genres: French and Spanish Surrealism and American Noir.
#Marilyn manson and lana del rey sexy dress full
She is the full spectrum of a real woman’s personality: vulnerable and stoic, playful and morose, sardonic and sweet. I admire her for unabashedly showing all her shades. I became addicted to her sound as well as her entire persona and her thought provoking lyrics precisely because I found her so damn refreshing. Lana Del Rey is the product of the post-third wave feminist movement. Just as Marilyn Manson chose his name to make a statement about American culture and the type of performer/ bogeyman he was intending to channel she does so too when she references beatnik poetry, rock stars, poets, and tragic Hollywood legends. Her music is not simply memoir, it is cultural discourse. Whitman is my daddy,/ Monaco’s my mother,/ Diamonds are my bestest friends./ Heaven is my baby, suicides her father,/ Opulence is the end.” In ‘Body Electric’ she sings:“Elvis is my daddy/ Marilyn’s my mother/ Jesus is my bestest friend./ We don’t need nobody, cause we got each other,/ Or at least I pretend./…. Kennedy, Marilyn Monroe and Elvis Presley. What Lana does differently is that she contrasts her grand emotional gestures with less grand and often snarky, biting jabs, self-deprecation, layers of irony, and piles upon piles of pop culture references ranging from classic literature: Vladimir Nabokov (Lolita), Allen Ginsberg, Walt Whitman, to Iconic American figures that reside within the collective consciousness like Greek Gods: John F. “You went out every night/ And baby that’s all right/ I told you that no matter what you did I’d be by your side/ ‘Cause imma ride or die/ Whether you fail or fly/ Well, shit, at least you tried/ But when you walked out that door/ A piece of me died/ Told you I wanted more, that’s not what I had in mind/ Just want it like before/ We were dancing’ all night/ Then they took you away, stole you out of my life/ You just need to remember/ I will love you till the end of time/ I would wait a million years/ Promise to remember that you’re mine/ Baby can you see through the tears/ Love you more than those bitches before/ Say you’ll remember/ Oh, baby, who/ I will love you till the end of time.”
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She is a storyteller songwriter like Bob Dylan or Nick Cave. She mythologizes her lovers, her past, and her fantasies. Her voice is soft, high and fluid, in perfect rhythm with the bass chords, creating a hypnotic sing song effect like a rock n roll nursery rhyme.
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Her driving baselines, such as in ‘Blue Jeans,’ pound steady beneath the surface harmonies. Lana as well, uses her bubbly pop sound as a dramatic contrast to dark emotional content, thus creating the effect of thematic and sonic dissonance. David Lynch uses nostalgic and sugary sweet vintage pop music to jar the senses, in contrast to violent or emotionally unsettling scenes.