Caminho para o Nada

Ever see a movie that is full of art, depth and meaning, but you just don't like it?

David Lynch movies strike me the same way. "Road to Nowhere" seems like a very Lynchian film. It carries a dark, brooding sense of imminent tragedy, characters are mysterious (some may say deliberately 2-dimensional), and the story disorients the viewer by leaping through different planes of existence. It's the kind of movie you're probably expected to view several times before you truly get it.

The story takes us to a small town where we piece together a crime based on small fragments. The whole time, a movie is being filmed about the crime, and that's the real plot. It's actually pretty clever of the director to hit us with 2 simultaneous stories unfolding in cryptic bits, and if I had more patience, I could have absorbed it all. But for the first hour I was just struggling to figure out what's going on, and the long, slow pacing seemed to mock my struggle. Do not watch this movie unless you're prepared to sit for nearly 2 hours like a deer in the headlights.

When the big picture finally materializes, it's almost too late. The abrupt ending may leave you feeling unsatisfied as it did me. But I guess that's where you're supposed to watch it again.

There was one part I'm very glad I saw: a scene where one character recites the poem "Sonnet XXV" by George Santayana. I'd never heard that poem before and immediately paused the movie to look it up.

Another scene, a short one of a plane crashing into a lake, struck me as beautiful. Make no mistake, even though I'm not a big fan of this movie, I enjoyed parts of it and would recommend it to fans of David Lynch ("Mulholland Drive"), Peter Greenaway ("Zed and two Naughts") or maybe--this is a stretch--Wim Wenders ("Paris, Texas"). It's also vaguely reminiscent of Jim Jarmusch ("Limits of Control") but it doesn't have Jarmusch's humorous moments, or any humor really. This is a very serious movie, made by serious people, intended for serious cinephiles. Do not watch this if you're in the mood for "Peewee's Big Adventure" or you'll be likely to crash your own airplane into a lake.

Opening medium shot: Shannyn Sossamon is sitting on a bed with her back to the headboard.The camera begins to move s-l-o-w-l-y toward a closeup of her face against a backdrop of silence. 3 minutes elapse as we watch her left hand move toward her face. She is holding a hair dryer. She turns it on. It blows in her face. During the next 2-3 minutes we watch as she moves the hair dryer closer to her face. We hear the motor purr. As this soporific scene concludes it sets the stage for a 120+ minute film that defies description. We soon learn that the story is about the shooting of a movie. Mademoiselle Sossamon has been chosen for the lead in this 'movie within a movie' She tells the Director she is 'not an actress' but he wants her anyway. I don't blame him..she's gorgeous and mysterious, perfect for a part that is the centerpiece of this convoluted, incomprehensible, maddening movie. As we watch various scenes of the director 'shooting his movie,' we become more confused regarding the storyline. When the director needs a retake, we watch him shoot the same scene over three times. More than likely the film editor went mad attempting to splice the scenes together to make a coherent story. Rather than give up, he spliced the scenes at random, collected his check and vanished. I commend him for having the courage to allow his name be listed in the credits. This movie was an endurance test. After the first 30 minutes, I took a bathroom break and noticed that at least half the audience had left, presumably in time to get their money back. I am aware there is an audience for this type of movie who enjoy obscure plots populated with ill defined characters. I'll acknowledge that Director Monte Hellman has style, but I'm unable to describe it. If money is not an object, go see this movie. But don't delay. I suspect the DVD is imminent.

Finally, after 21 years, we get a new Monte Hellman film, and, despite the negative reviews on this site, it is a winner, a magnificent piece of film art! Road to Nowhere is not the typical Hollywood entertainment fluff, and thank goodness. In a world where bad 70's television shows and comic book heroes are shoved down our throats on a weekly basis, a film like this is a lifesaver. Without spoiling anything, I can tell you that the themes of alienation, absurdity, and identity that are the hallmarks of Hellman's direction are present in spades, as well as meditations on the nature of art and the nature of film. If you are looking for intellectual stimulation and some relief from standard Hollywood fare, look no further. As films-about- films go, this one stands with Last Year at Marienbad and Persona. Not to be missed.

This movie makes your brain a road to nowhere. Although confusingly slow, for some. For others depth is more important. So deep you cant look around cause everything looks the same.

I watched this movie for the first time on 3 beautiful tabs of perception enhancers and it made me change life perspective and my own personality. How much of it was the movie I Don't know. The movie changes perspective the whole time. It. Is. Odd.People who think they are creative will hate this movie cause it will pee in their eyes.

Real people who 'think' regularly will be enchanted by the detail. They will laugh while the ignorant cry.

Bottom line: not for anyone.

As 'Road to Nowhere' begins, pre-production is underway on a movie project about a notorious murder case involving an absconded embezzler, faked accidents and substitute corpses. The director is seeking a lead actress to play the crime's femme fatale - and his search soon unearths an uncanny double of the villainous vamp, whose only previous credit is an 'exploitation' movie. Coincidentally her character is called Velma - which also happens to be the name of the duplicitous missing showgirl in Raymond Chandler's 'Farewell, My Lovely'. After two-thirds of the film is wasted on long shots of characters tying their shoelaces, watching nail polish dry and rehearsing inconsequential dialog, the actress embarks on a tepid love affair with the film's director, which results in some unexplained melodramatic discord and a violent conclusion.

Although film-within-a-film concepts have been used previously, as in Truffaut's 'Day For Night' and David Lynch's 'Inland Empire', a disciplined director armed with a coherent screenplay should be able to conjure fresh life from the old dog. Unfortunately 'Road To Nowhere' never provides any useful information about the original crime or those involved, nor does it ever clarify various intrigues amongst the film crew. Director Hellman justifies all the heavy-handed movie references and opaque mysteries by claiming he prefers surreal narratives - but his excuse is fraudulent. This isn't surrealism - it's just dull story-telling - or more accurately, no story-telling.