The Genie briefly changes his head into that of Pinocchio.
Hunchback of Notre Dame
Belle from Beauty and the Beast, the magic carpet from Aladdin, and Pumbaa from the Lion King can all be spotted in the streets of Paris.
A talented and attractive but deeply insecure young woman (Diane Selwyn) moves to Los Angeles hoping to become a big-time actress, where she falls deeply in love with a more confident, successful actress (Camilla Rhodes) who helps her kick-start her career and allows her to mix with some Hollywood bigwigs, earning her a few minor movie roles. She is eventually rejected by her fame-hungry lover who becomes romantically involved with a well-known director, flaunting her new relationship in front of Diane at a dinner party. Diane suddenly finds herself alone and scared in the cutthroat world of show business, and feels she is now doomed to failure. Despondent and in a jealous rage, she hires a hitman to kill Camilla, thinking this will make her feel better. However, when she receives confirmation that this has been completed (blue key), the reality of what she’s done hits her and she sinks into a deep depression which eventually turns into a paranoid psychosis resulting in her suicide.
At the very beginning of the movie, before we know of this backstory, Diane falls asleep one last time, her tortured and delusional mind causing her to dream of a world where she is the polar opposite of what she has become. In her dream, she is still a fresh-faced, innocent young girl, confident and in control. She is the one the big director wants but can’t have, only due to circumstances beyond their control (Mafia intervention in the film’s casting process), she is the strong one in the relationship protecting her friend and lover and helping her navigate a dangerous world. Still though, people and places she saw while she was planning the real-life murder keep creeping back into her perfect fantasy world, causing the more nightmarish moments of her dream (For example, the scared man in the diner was a guy she saw paying for his meal while she was meeting with the hitman in real life. In her paranoid state, she seemed to at least subconsciously suspect that he knew what she was up to, this becoming another fear in the back of her mind manifesting itself in her dream). The blue box signifies Diane’s consciousness, the blue key triggers her memory, forcing her to open the box (awaken). She awakens back to her horrible reality and reflects on the events that led her to the crushing emptiness and despair that she now has to live with. Here we see what happened to cause the twisted nightmare we just saw, and eventually her suicide.
David Lynch is portraying the corrupting and dehumanizing nature that underlies the glitz and glamor of the Hollywood film industry. It’s a big middle finger to those in the industry that perpetuate and thrive off what he sees as a soul-crushing environment.
Spaceballs III by Nikkolas Smith
Los Angeles’ pop culture print gallery iam8bit is opening a new show on Thursday, November 13, titled “Sequel” in which over 40 artists imagine posters for sequels that were never made.
Some of the films given the wishful follow-up treatment include The Rocketeer, Spaceballs, Blade Runner, Labyrinth and more.
Fight Club 2 by Kaz Oomori
The No. 1 rule of ’80s children’s movies: Scar kids for life. While those movies probably didn’t intend to leave its young audiences with lifelong trauma, the scars are still healing for a lot of us. Here are 10 children’s movies that are actually scarier than any horror flicks you might be watching this Halloween.
Return to Oz – Head Scene
Honestly, horror movies that try very hard don’t even come close to this terrifying shit I mean damn.
January 13, 2015 | Comments Off on 32 Great Moments In Cinematography Awesomeness | Topics: Movies |
The Tree Of Life
Comments Off on 32 Great Moments In Cinematography Awesomeness
Kermit and Piggy visit Mark Hamill and Yoda on the Dagobah set
Johnny Depp under the water in Pirates of the Caribbean
The curious cover of Skinner’s original script for ‘The Star Wars.’