Mourning his dead child, a haunted Vietnam war veteran attempts to discover his past while suffering from a severe case of dissociation. To do so, he must decipher reality and life from his own dreams, delusion, and perception of death.
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
Harry Angel has a new case, to find a man called Johnny Favourite. Except things aren't quite that simple, and Johnny doesn't want to be found. Let's just say that, amongst the period ... See full summary »
New York postal worker Jacob Singer is trying to keep his frayed life from unraveling. His days are increasingly being invaded by flashbacks to his first marriage, his now-dead son, and his tour of duty in Vietnam. Athough his new wife tries to help Jacob keep his grip on sanity, the line between reality and delusion is steadily growing more and more uncertain. Written by
Jean-Marc Rocher <firstname.lastname@example.org>
Certain imagery was inspired by the photographs of Joel-Peter Witkin. Most recognizably, the image of the hooded, legless man shaking his head is inspired by Witkin's 1976 photograph "Man With No Legs". See more »
In the scene where Jacob and Geary are walking down the stairs, Geary is holding his briefcase with his left hand. After he says "war games in Thailand" and makes a motion with his right hand, the next shot shows that hand now holding the brief case. See more »
You know you look like an angel, Louie? Like an overgrown cherub. Anyone ever tell you that?
Yeah, you. Every time you see me.
You're a lifesaver, Louie.
Yeah, I know.
See more »
The credits roll over a grainy black and white photo of Gabe and Jacob crossing the street together. See more »
It has a highly intelligent plot though not difficult or artsy and is void of cliches. It therefore confuses and aggravates many viewers and professional reviewers always wanting a standard has-it-all Hollywood outpouring.
It is so few films that leaves room for independent thoughts. Jacob's Ladder tumbles your mind the same way a dream of your own does. I have never felt this effect in a film so strong before. The images comes pouring in and your brain tries to make sense of it. Whenever you think you have a grasp it slides away again.
The brilliance of the progression of the story, twists and turns, and the final explanation, so obvious but elusive as real dreams are, makes it on par with the best of Kubrick.
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