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  • The first episode of the trilogy is classic David Lynch fare with a stand-out Harry Dean Stanton performance, the second is a god-awful mess of a piece directed by the acclaimed director of the Elvira movie. Fast-forward this mistake (commissioned by HBO so that they would have a "feature-length anthology") The final part is one of the finest pieces of acting and directing that I've ever seen. I'm a Lynch fan, but nothing could prepare me for a story where Crispin Glover is the sane, voice of reason. Alicia Witt is a marvelous actress who shines in this terrifying role. Kudos to Crispin's restraint. A great hour
  • Hotel room is not really a straight David lynch movie, it has three parts, set in different time periods, the first and last are directed by lynch. The first staring Harry Dean Stanton, this part is worth watching for the acting alone, but will be enjoyed by anyone who respects lynch's stylistic film making.

    The second part is interesting and has a little creative flair, but is greatly over shadowed by the pieces lynch directs. It's good enough to not fast forword to the third part.

    The last part which revolves around a couple stranded in a blackout, is based almost fully on dialogue. David lynch's genius comes out here, little light, and enough weird conversation to keep your mind working during the whole piece.

    It's very easy to over look a little gem like this, do yourself a favor and check it out.
  • Three half-hour episodes were produced, two from David Lynch as director and Barry Gifford as writer, one from some random guy, James Signorelli, I never heard of (though, according to IMDb, directed an Elvira movie, and surprisingly helmed Easy Money), each set in a hotel room in a particular year in time:

    The first segment, Tricks, set in 1969, is a story of a man (Harry Dean Stanton) right about to get some from a stoned prostitute, who gets visited at that moment by an old white-bearded friend with some dark past history. The acting is good all around, particularly from Stanton during a monologue about his first sexual encounter. But it also doesn't really lead much anywhere, even through touches of Lynch's usual twists (the appearance of the 'friend', the final twist that does cleverly wrap around old relationship ties). It also tries to be funny, and it isn't, which makes it a little awkward when the subtle wit doesn't work. (7/10)

    The second segment, Getting Rid of Robby, set in 1992, is like some slightly sleazier, less witty episode of Sex and the City (if you can imagine that), with very lame would-be-clever dialog, and the only redeeming aspect being Griffin Dunne playing a man who's breaking up with a woman who usually 'takes care' of him when he comes by during business trips. Not sure why it was here, even if Badalamenti puts in a groovy jazz song over material that isn't worth it; it's not necessarily a horrible short, but it has no real entertainment value except for people who can't distinguish fake-feminist-trash from quality product, and it is a significant drop in comparison to the other two shorts. (5/10)

    Blackout, 1937- Probably the closest that Lynch has come to doing full-on Bergman, via Gifford's script, by ding very simply shot but emotionally complex character studying. Crispin Glover plays a small-town guy who stays in the same hotel room from the other two shorts with his love, played by Alicia Witt, who's sort of slow and affected mind-wise, but has a lot to say about Chinese fish and seeing things like their future children. Witt has a look like the classic Bergman actresses, and the dialog even goes further than Bergman, maybe back to Ibsen, in capturing the tense but always powerfully human tradition of characters who are disconnected from one another, but wanting to be close as possible, through revelations in behavior and stark details. Glover, in a rare instance, plays a guy who is the straight character (straight as possible anyway). In the Barry Lyndon-esquire candle-lit lighting, Lynch makes this all so spare that it seems like the farthest thing removed from an quagmire like Inland Empire. But in its own way, Lynch is experimenting just as much in getting inside the nature of a character's psychology, and it's refreshing to see him let the actors find their own beats in the performances. (9/10)
  • I just read the other review that is posted for this film. I agree that the second episode is fairly terrible, but I would like to add that David Lynch did not write or have involvement with that one. The first episode is quite amazing, but it's the third one that I personally like. It's intelligent and it's got some of the best acting I've ever seen. Crispin Glover is amazing in the episode, and I think it's unfortunate that both him and Lynch didn't receive critical acclaim for being a part of such an amazing project. The third episode is not accessible to everyone, but I urge everyone to at least see the first one.
  • Warning: Spoilers
    ::Possible Spoilers ????::

    About the first part of "Hotel Room": I thought it was the best, with some really good acting, especially by Harry Dean Stanton. I'm not sure about this, but I think that the other guy (Louis) was supposed to be Moe's conscience, and he wasn't real. David Lynch never really says what the whole idea behind the story was, but that's what I think (that might have been a spoiler of some sort). Either way, this episode was really good.

    The second part was terribly terrible. It may not have been so bad, but squeezed between two slices of Lynch-bread, it tasted like a piece of rotten turkey.

    The third one was also good. There were only two characters in this one (Crispin Glover and Alicia Witt), and they both gave great performances. Both this and the first episode had David Lynch's trademark of unusual dialogue that is never really explained enough for the viewer to understand exactly what is going on.
  • ARE THE EDITORS SMART ENOUGH TO PICK UP THIS INFORMATION AND MAKE THE CORRECTIONS. Please let me know. David Lynch's Hotel Room does not have the full cast listed, they go to great length to add producers, a lot of crew members but not the significant actors, such as Glenn Headly, and Harry Dean Stanton. Go to these actors IMDb pages and verify, go to Leonard Maltins comments for Headly and verify as well. Can the editors go the extra mile for good customer service, and check with other sources and get the correct information, let us hope so!!! This is a popular DVD because Lynch is such a great director and hard to find at video stores. I'm sure IMDb has other sources to check. You have a great web site but often info is sketchy and you rely on us fans to set the record straight... THANK YOU
  • A very good trilogy of short stories that take place in a hotel room, during 40's and 90's. The second story is not directed by D.Lynch and you as a lynch fan will notice it right away. The first one is very good but the last story takes the price. Very classic Lynch directing. We see the characters many times from a mirror reflection, gives us the "watching" mood as in Blue Velvet and Twin Peaks. The story is dark and very moody. Angelo Badalamentis work haunts in the background. Just beautiful. Recommended. 9 out of 10!!
  • Warning: Spoilers
    Looking for films/shows that friends could view over the Easter holiday,I spoke to a DVD seller about what titles he had recently picked up. Only knowing Twin Peaks as the TV work he had done,I was surprised to find out about a one-off mini-series that David Lynch had made after wrapping up TP (at the time) with Fire Walk With Me,which led to me booking a room.

    View on the mini-series:

    Made as three eps but trimmed into one 90 min film, (thankfully,the longer uncut eps survive)the writers Barry Gifford & Jay McInerney check in close to themes of David Lynch, (who co-created the show with Monty Montgomery) with the program entering a lone hotel room in 1969,1992 and 1936 that are home to white picket-fence visitors attempting to escape from the destructive outside world. Later adapted into plays, the limitations of the location allows for an excellent theatrical exploration of the characters,from the scotch on the rocks Noir ep 1 Tricks and the darkly comedic ep 2 Getting Rid of Robert, to the surprisingly touching final ep Blackout.

    Directing the lone ep not done by Lynch, James Signorelli aims for the peculiar mood of the other pieces in Getting Rid of Robert,but misses the mark by being too self-aware at the strangeness of the situation, and the repeated cuts away from the hotel room breaking the tension. Reuniting with a smooth score from Angelo Badalamenti,Lynch gives his first ep a boiler room atmosphere, as Moe (played by a dripping with sweat Harry Dean Stanton) finds himself trapped in the past with two fellow guests who will land Moe with some deadly Tricks. Lit with stray shots of thunder on the window and candle light,Lynch reins in Crispin Glover's usual quirks to get an outstanding performance from him as Danny in ep 3 Blackout, with Alicia Witt joining Glover with a beautifully unsettling,calm performance as Diane,in David Lynch's minimalist, experimental hotel room.
  • The first part of Hotel Room is complete perfection. The first time I viewed this piece I knew I had just witnessed something amazing, but like many other of Lynch's pieces it would require a second viewing. It has been two years and I have watched the first part over 50 times. I have showed this film to about 40 people. Thirty of them get it, ten are baffled. We recite quotes and facial expressions from Moe and Lou on a daily basis. Some of my favorites are "The Sh*t Moe, The Sh*t" "I know about crucial, Moe", and "It's not every hooker from New York that can do a cheer like that let me tell you."

    This is the most comical Lynch piece I have ever seen, Let me tell you. The humor is varied but does have a underlying consistent form which is crucial. All in all this movie is the Sh*t Moe the Sh*t!
  • This is the worst David Lynch directed film or TV series in existence. There are three different episodes to this horrific video, all revolving around the same hotel room. The three different episodes are set in different times, spanning from the 1940's to the 1990's. Harry Dean Stanton stars in the first and probably the best out of the three. This episode is the strongest of the three, with all the usual twists and turns that you have come to expect out of David Lynch. But the next episode is a horrible hybrid of a day soap opera and any theatre-bound 90's mainstream dark-humored film that we have grown accustom to loathe. Halfway through the last episode I decided enough was enough and ejected the tape while condemning this god-awful movie to Haiti. I hated this film and my favorite film is Blue Velvet. Go figure.
  • Warning: Spoilers
    I just have a question. I do not know if this is the movie that I saw one time on TV, and I loved it but I am not sure if this is it, and the synopsis doesn't clear it up for me. I know that it shows the lives of the people in the hotel room through decades, but is there a story line with a soldier who comes home from war and you are led to believe that his wife is having an affair with his best friend?

    If you could just post a message and let me know that would be great And if this is not the movie, if anyone knows what the movie is that I am talking about it would be greatly appreciated if you could let me know.
  • 'Hotel Room' was a made-for-cable anthology mini-series created by David Lynch and Monty Montgomery (best known to me as the deeply sinister Cowboy from Mulholland Drive (2001)) which didn't get beyond the first three episodes. The critical reaction to the series was pretty negative and so HBO didn't take the project any further. From the perspective of today the most significant thing about 'Hotel Room' now is that two of its three parts were directed by Lynch and written by Barry Gifford, the director/writing team who devised Wild at Heart (1990) and Lost Highway (1997). The other instalment was directed by the unheralded James Signorelli who directed the (rather fun) Elvira movie.

    When you take into account especially that Lynch and Gifford team up here, it has to be said that the results have to be considered somewhat disappointing. Neither the writing nor the direction seemed particularly good in their segments, while Signorelli's was poor also. The basic idea has the action in each episode occurring in the same hotel room but in differing years, in 1936, 1969 and 1992. It seems especially unfortunate that this wasn't a lot better really, as the potential is undeniable. The set-up is one which invites a lot of scope for creativity seeing as so many different characters and situations could be used in each episode. The recent British series 'Inside No.9' in fact shows brilliantly how such an idea can be used to devise something inventive and original. But as it is, Hotel Room definitely falls short and I can sort of understand why it wasn't recommissioned. No episode truly stood out for me as all felt under par in at least some way. You could probably argue that the final one 'Blackout' had at least a bit more atmosphere and overall purpose but it I did find even it somewhat uninvolving overall. The other two episodes felt a bit pointless and directionless. It seems to exist now in the form of an anthology film with all the episodes running together. It is still an interesting enough watch for the most part, especially if you like the work of Lynch but the overall feeling is that, with better writing especially, this could have led to something more.