The performer of Twin Peaks theme Julee Cruise's experimental concert film, which opens with a short intro where a man breaks up with his girl over the phone, which devastates her. The concert is set in her nightmarish subconscious mind.
Pivoting around the emotionally charged telephone conversation between an unsuspecting Laura Dern, and a devastated but determined Nicolas Cage, the first powerful scene of David Lynch's "Industrial Symphony" ends with a painful breakup. Then, a floating Julee Cruise dressed in white appears out of thin air, inviting us in a palpable, ill-lit, nightmarish hallucination, as the cacophonous sounds of rejection intensify the despair of the heart-broken woman. To portray the scarred, anhydrous landscapes of separation and solitude, Julee Cruise performs hauntingly evocative songs from her 1989 debut album, "Floating into the Night", as well as recordings from the second season of Twin Peaks (1990). The performance was filmed at the Brooklyn Academy of Music Opera House, on November 10, 1989.Written by
A description of this project can only be, like descriptions of Lynch's other more obtuse works ("Inland Empire," "Lost Highway," "Fire Walk With Me" "Rabbits") a description of "what happens" during the running time, which is more or less a useless venture. Try to describe what you dreamed last night to a friend and watch his eyes glaze over. One would hope that someone watching this video has a vague idea what to expect...you don't go for a viewing of something by Lynch hoping for "Singing In The Rain" at the least.
This project is definitely "out there," and like the other films mentioned is more or less non-narrative, more like a tone poem...what "meaning" there is to be found is probably up to the individual viewer. As I've said before about Lynch, only the dreamer of the dream can really guess accurately what any of it "means" to him, our experience can only be what the artist has filtered through. So what do we have? First and foremost, this recording, culled from two live performances Lynch was apparently commissioned to do, contains some of the wonderful, spooky songs written for and recorded by the ethereal Julee Cruise. The pyrotechnics, flashes of lighting, metal-on-metal surroundings, frustrated sexuality and typically Lynchian sound effects evoke an "industrial" dread that pre-sages Cronenberg's "Crash" a few years later. It is by turns perversely sexual, horrifically surreal, sweetly sentimental and slightly dull, and all within 50 minutes. The possible highlight is a song that plays like a sad lament for a lost era of 50's doo-wop, with two blasé prom-dressed girls and a chorus of vivacious Vegas showgirls.
This is "Lynch-land," and if you like Lynch you'll probably enjoy it, if not you would probably find it pure torture...it looks a bit "90's" by today's standards, it is relentlessly dark and slow at times and I question how much forethought actually went into it (Lynch himself claims it was put together pretty fast) but it is inherently memorable...one is unlikely to forget some of the strong images, or the plaintive sighing of Julee as she floats through the air, the embodiment of an innocent heart broken, but not destroyed.
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