Director: David Lynch
I was expecting this story to be a little slow, but while the film was paced as leisurely as a riding mower’s speed, it wasn’t at all boring. Lynch’s use of camera angles, editing, and occasionally unusual methods of storytelling kept things interesting. For instance, in one sequence, a car crashes into a deer, but instead of showing us the accident, we only hear it and the camera focuses on the face of main actor Richard Farnsworth as he reacts to the tragedy. It was far more emotionally effective than showing a realistic accident. Slowly, throughout the film, we learn about the main character, understanding more and more about it. Unlike most films which try to dump a lot of exposition within a scant few seconds and then move on to action, this film reserves details and releases them gradually, when appropriate, and for maximum impact. I really liked that. For example, in an early scene we watch Farnsworth’s daughter watch a ball roll down the street and eventually be retrieved by a small boy, and we see her sad face, but it’s only later that it’s revealed that her own children were taken from her by the state and she pines for them. It’s much more powerful to have the two pieces of info given to us separately than all at once: I wish more filmmakers had the instincts to do stuff like that.
