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TU PUNTUACIÓN
En una extraña familia, un niño vive atemorizado por sus padres y se evade de la realidad inventando a una mujer que lo quiera y lo acepte.En una extraña familia, un niño vive atemorizado por sus padres y se evade de la realidad inventando a una mujer que lo quiera y lo acepte.En una extraña familia, un niño vive atemorizado por sus padres y se evade de la realidad inventando a una mujer que lo quiera y lo acepte.
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10NateManD
"The Grandmother" has got to be one of the strangest works of David Lynch next to "Eraserhead". In order to get the film made, Lynch got a grant from the American Film Institute. Too bad AFI doesn't fund amazing films like this anymore. In some aspects the film looks like it had a huge influence on "Begotten" (1991), except "The Grandmother" is only about 34 minutes and never wears out it's welcome. The story concerns a boy, who has very mean and abusive parents. They act like animals and only talk in barks. The little boy is very pale and Gothic looking, and almost all the film's sets are painted pitch black in darkness. This causes images to pop right out. The boy plants seeds in his bed, a huge abstract stump like object grows and gives birth to an old lady. The old lady seems to give the boy peace of mind, like a grandmother would. It's really hard to tell the exact story, since the film feels like a surreal nightmare that leaves the viewer disoriented. The music and experimental sound mix sounded way ahead of 1970. This only added more impact to it's disturbing imagery. Not to mention, it had some weird animated scenes too. From all the movies I've seen, I'd have to say the best examples of surrealism in film have to be Bunuel and Dali's "Un Chien Andalou", Jodorowsky's "The Holy Mountain" (1973) and David Lynch's "The Grandmother". All three of these films have images that will probably haunt you for the rest of your life.
This film is a must-see for anyone interested in the world of surreal cinema. Combines fascinating visual metaphor with rich, vivid animation to create a disturbing ambience that draws the viewer in, like a fish caught on a hook. The music (provided by a collective of music engineers known as "Tractor") is like a grey canopy that wraps itself over your mind as you find that time and space and your life outside of a cold, flickering living room seem to fade into this backdrop of radioactive multimedia. Make no mistake about it, Lynch is an artist of the highest calibur, and in this gripping work he uses everything in the film as a medium to transmit his imagination to the outside world.
P.S. - If you like Lynch's style, I suggest looking into the films of Alejandro Jodorowsky, Luis Bunuel & Jean Cocteau. All of them brilliant artists in their medium.
P.S. - If you like Lynch's style, I suggest looking into the films of Alejandro Jodorowsky, Luis Bunuel & Jean Cocteau. All of them brilliant artists in their medium.
This is a very odd, and rather disturbing short. If you're not into Lynch then give it a wide birth, even if you are, then approach with caution. The story concerns itself with an unhappy boy who grows a grandmother. Well, that's all I could work out anyway. The rest of the film is filled with bed wetting, barking parents, and bizarre animations. Everything is in disturbingly garish colours (generally deep blue), and there isn't a single line of dialogue. See this if you're a die-hard Lynch fan or if you're a budding experimental film maker. If, however, you found Eraserhead too weird then steer well clear.
One of the most disturbing things i've ever seen. The actors in this film, David Lynch's third film technically, but his first narrative film, were never in any other movies - one of them, Father, died a few years ago - it is as if they exist only in the frightening nightmare world of this boy's life, which consists of two dog-like parents who only bark at him with unintelligible sounds, and beat him and rub his face in the urine when he wets the bed, like a puppy. The subject of the film (and if i don't tell you this, it'll make so little sense to you, because its never properly explained in the film) is the boy has no love from his parents, and no grandmother to give him respite from them and comfort him, so he grows one in the attic.
It is a horrifying, brilliant film, which creates an imaginative world very successfully - albeit one you desparately want to escape from as soon as possible, but it does this well at least.
The Lynchian oeuvre is almost fully formed here, right from the start. Little dialogue, atmospheric soundtrack of constant sound effects which you find in Eraserhead, Elephant Man, Lost Highway and Mulholland Dr; impressionistic approach to performance and makeup/costume and sets; the quality of estrangement in the direction, and most importantly there is the union of terrible, twisted darkness and optimistic naivety (developed to the full in Blue Velvet and Mulholland Dr).
For Lynch fans, this is a thing to see. Unlike Six Men Getting Sick or The Amputee, this is not just an experiment or an early film of a Director that ruins your impression of them, it stands on its own, irrespective of Lynch's subsequent work (though it also sets the tone for his subsequent narrative work) as a great surrealist/impressionist narrative short.
It is a horrifying, brilliant film, which creates an imaginative world very successfully - albeit one you desparately want to escape from as soon as possible, but it does this well at least.
The Lynchian oeuvre is almost fully formed here, right from the start. Little dialogue, atmospheric soundtrack of constant sound effects which you find in Eraserhead, Elephant Man, Lost Highway and Mulholland Dr; impressionistic approach to performance and makeup/costume and sets; the quality of estrangement in the direction, and most importantly there is the union of terrible, twisted darkness and optimistic naivety (developed to the full in Blue Velvet and Mulholland Dr).
For Lynch fans, this is a thing to see. Unlike Six Men Getting Sick or The Amputee, this is not just an experiment or an early film of a Director that ruins your impression of them, it stands on its own, irrespective of Lynch's subsequent work (though it also sets the tone for his subsequent narrative work) as a great surrealist/impressionist narrative short.
The Grandmother, like other surreal short films (and, of course, like the rest of Lynch's work), is not that concerned with logic, at least in conventional terms. If there is anything at all conventional about the the film is that it has at its core that small statement on youth and innocence that can be interpreted a hundred ways to Sunday- if you're lonely and dejected you'll look for companionship. It's just that in this case the conventional wisdom of finding someone at the playground or at school is bypassed- here the boy, in isolation from his barking, mad parents, plants and grows a grandmother to spend time with. But is it all as it should be? Lynch, much as he did with Eraserhead, leaves so much up to interpretation that on a first viewing it's almost not even necessary to find something coherent in what goes on. But in that sense, of course, many will likely be befuddled, disturbed, and maybe even offended at the lack of typical cohesion from start to finish.
What it does provide, however, is a kind of cinema experience that has to be felt, seen, heard, taken in as cinema on the technical and artistic side of things always goes. Even when I didn't know what was "going on" with the boy and his grandmother and parents, I didn't mind as long as I knew Lynch was doing something with the camera or lighting or editing or music or animation or all of the above to make it a visceral experience. Yes, there are some tedious moments here and there (which, even in being a 35 minute short film, are possibly more so than the ones in Eraserhead), yes the first two to three minutes takes some time to adjust to, and yes there ending is left about as ambiguous as can be. But it shook me up all the same, like the best parts of 90's music videos. Any time, for example, that Lynch used a sort of stop-motion technique during the live action I was thrilled in a way. The animated sequences have a crude quality that could only be matched by Gilliam's Python animations. And the actors (or maybe just pieces) in Lynch's macabre framing and set ups and pay off seem all perfect for the parts.
If you're already a fan coming on to this DVD set of Lynch short films, this may or may not come as the most eccentric, wonderfully outrageous of the lot of them; it could also be for some the most 'huh' of all of the films as it is the longest and with the most density in the surrealism. It is the mark, interested in it or not, of an artist leaving something out for a good look and soak into what it is or could be or is lacking. Grade: A
What it does provide, however, is a kind of cinema experience that has to be felt, seen, heard, taken in as cinema on the technical and artistic side of things always goes. Even when I didn't know what was "going on" with the boy and his grandmother and parents, I didn't mind as long as I knew Lynch was doing something with the camera or lighting or editing or music or animation or all of the above to make it a visceral experience. Yes, there are some tedious moments here and there (which, even in being a 35 minute short film, are possibly more so than the ones in Eraserhead), yes the first two to three minutes takes some time to adjust to, and yes there ending is left about as ambiguous as can be. But it shook me up all the same, like the best parts of 90's music videos. Any time, for example, that Lynch used a sort of stop-motion technique during the live action I was thrilled in a way. The animated sequences have a crude quality that could only be matched by Gilliam's Python animations. And the actors (or maybe just pieces) in Lynch's macabre framing and set ups and pay off seem all perfect for the parts.
If you're already a fan coming on to this DVD set of Lynch short films, this may or may not come as the most eccentric, wonderfully outrageous of the lot of them; it could also be for some the most 'huh' of all of the films as it is the longest and with the most density in the surrealism. It is the mark, interested in it or not, of an artist leaving something out for a good look and soak into what it is or could be or is lacking. Grade: A
¿Sabías que...?
- CuriosidadesWhen hired by Mel Brooks and Stuart Cornfeld to direct El hombre elefante (1980), David Lynch showed this film to producer Jonathan Sanger, who initially had optioned the script, as he still wasn't convinced that Lynch was right for the job. This convinced him otherwise, as it showed that Lynch not only could make a surreal nightmare but also an emotionally affecting film.
- ConexionesEdited into Los cortometrajes de David Lynch (2002)
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- Presupuesto
- 1000 US$ (estimación)
- Duración34 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.37 : 1
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By what name was La abuela (1970) officially released in Canada in English?
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