Lady Blue Shanghai
Tags: flashback

Plot synopsis:
Cotillard, whose character is not given a name in the film, enters her Shanghai hotel room at night. As she nears her room she hears a 1920s tango, which, as she opens her hotel room door, she sees is coming from an old 78 rpm record playing on a vintage record player. She stops the music, and instantly an expensive Dior bag appears in the room in a puff of smoke.
In a panic, she calls the front desk to say that someone is in her room. Two security guards search her room and find nobody. She is questioned about the bag and asked if it could have been left by someone she knows. At first she says she just arrived in Shanghai and knows nobody, but then she reluctantly relates, through a flashback, what seemed like a vision to her as she went to see the Shanghai Oriental Pearl Tower that afternoon. The vision is of her seeing Shanghai as it was at an earlier time and going up some stairs to a room in which she saw a Chinese man. As they kiss and profess their love for each other, the scene changes to modern Shanghai, and the man says he wants to stay, but can not.
As the vision of her lover fades, he hands her a blue rose and the flashback ends. Cotillard is in tears. She opens the bag and finds a blue rose. The picture ends with her clutching the bag to her heart.

Review: Watch it alone in a dark room at night.
David Lynch is no stranger to making commercials and although "Lady Blue Shanghai" was probably intended as one, it didn't feel like it.
It felt more like one of his surreal films with product placement.We meet a lady, played by Marion Cotillard, in a Shanghai hotel.
She goes to her room to mysteriously find music playing on a stereo.
She also finds a Dior handbag that seems to suddenly appear out of nowhere.
If you've seen a few of Lynch's films, this already feels familiar, but I wouldn't call it hackneyed.
The lady thinks someone is in her room, so she calls the front desk, and two men in black suits investigate the room.
They find nobody; then, they talk to her, which leads into flashbacks of the woman in Shanghai.
The film was dream-like before, but here's where the dreaminess really kicks in.It almost goes without saying that Lynch knows how to make these types of films, short or feature length.
"Lady Blue Shanghai" works.
The cinematography is stunning and although the blurry slow motion camera shots are a bit distracting, they blend right in with the mood and story.
The neon lights during the running scene particularly stand out.
And what's a surreal film without music?
Dean Hurley and David Lynch's heavenly score is really effective.
I can't think of anything pretentious about the film.Like "Eraserhead", "Lost Highway", "Mulholland Dr.", and "Inland Empire", I don't know if there's a purpose to "Lady Blue Shanghai", other than to advertise Dior.
It's linked to the handbag, but I can't go any further.
Well, I don't need there to be a purpose to the films I watch, particularly art-house films.
If you can take some commercialism, "Lady Blue Shanghai" will hopefully be a beautiful 16-minute experience.
I wonder if and when Lynch will make another feature film..
This is not a film, it's a commercial....
I got very excited when I saw the new credit to David Lynch's filmography, but after seeing this short film I think the truth has to be said: This is not a film, it's a 16 minute commercial for Christian Dior.
I'm still not sure what the product is, maybe it's just the brand.
So, when criticizing this title one must do it on 2 different levels: as a commercial and then as a short film.As a commercial, this is pretty good.
Everything is in place: the bag, the dress, the make up, and probably even the perfume, although this is one thing we cannot be certain of.As a short film, this is pretty dull.
It seems that David Lynch has completely run out of ideas, and he once again makes a film about "a woman in trouble".
Lynch's films of this decade were all about women in trouble.
Beginning with "Mulholland Drive" and ending with this piece.
Unfortunately, the music and atmosphere cannot hide the fact that Lynch is out of inspiration.
This little short film adds nothing to what we've already seen from the man.
It doesn't really matter if you don't watch this.
Watch "Inland Empire" instead.I believe that Christian Dior just wanted to exploit poor Lynch's surreal approach to promote their products.
I also believe that Lynch.
lacking the opportunity to make another feature film, desperately needed the money.
I can see no better reason for the making of this film.And all this I say as a David Lynch fan who thinks Lynch is one of the greatest filmmakers alive today..
sure it's a "commercial", but I never thought about that watching it.
Apparently, and maybe I'm thick-in-the-head, this David Lynch short film is a commercial for Lady Dior, which is basically a really fancy handbag.
This isn't a surprise that Lynch would make a commercial - he has made several over the years, maybe as a means to get some of his ideas out there into the cinematic medium, and maybe, perhaps, to get some quick money.
But this is a little different: this is a 16 minute film where it's really about a woman who goes to a hotel, a record is playing mysteriously in her room, and a handbag shines very brightly.
She calls the hotel-help asking what is going on, and then tells a story of meeting a man before...
or thinking she's met a man before, in Shanghai.
The power of this short film is that a) I didn't have any real clue that it was a long-form commercial while watching it, and b) it carries the kind of unique mystery that Lynch unlocks with his approach to cinema - the cinematography (in this case digital video, with a more sophisticated eye than the experimentation of Inland Empire), the editing that emphasizes the human face and the enigmatic movement of characters in the frame, sound editing that is not-of-this world.
I still am not quite sure what it's all about, or if it's really what it is in that handbag (I'm more-so reminded of the elusive nature of the blue box from Mulholland Drive), and I almost don't want to know, at least not until two or three more viewings.
It also is a big asset that Cotillard, stunning in appearance and her quiet intensity, works so well here for him as his female-muse.
Does it mean as much as his other short films?
I'm still not sure about that either.
Compared to some of the works on his Short Films of David Lynch or Best of DavidLynch.com DVDs, its not any kind of absurd thing he's dealing with here.
It's like a splintered-in-his-mind romantic drama where love and loss and memory and not knowing converge into something one can look at and maybe recognize, or just feel.
It's sublime work by a master of his self-made craft..
Let's get it straight first off: I am a big fan of Lynch's and I know that this is supposed to be a long ad.But that does not stop me from thinking that this short film is a ludicrous effort that only serves the purpose of reminding the viewer how great Lynch used to be, at least up to Mulholland Dr., which is now more than ten years ago!
Everything, maybe except for the music, is wrong in this short.
As usual the plot makes no sense at all, which could be bearable in itself, but no atmosphere is built out of the plot less story either, so the fact that there is no or little story does become a problem.
Second, the Chinese actors are terrible, they are so bad that it looks like Lynch cast the first two guys he saw walking down the street.
The bag as mysterious, symptomatic object (see blue box from Mulholland Dr.) is used in a ridiculous way, both when it is seen in the hotel room and on the billboard.
Cotillard tries hard but there is little to do with a character that has to deliver useless "I love you" lines to a random Chinese guy waving a blue napkin (or was it a rose).Finally a word on the digital video cameras.
I already disliked Inland Empire because it used them.
I think Lynch should abandon this idea and go back to a more traditional technique.
The sexiness of movies such as Mulholland and Lost Highway was also due to the fantastic way they were photographed.
We do not need the shakiness and the low resolution of Inland Empire and of this short, they just don't add anything while they take away a lot.Now, Mr Lynch, please go back to make feature films and return to your old standards, we are tired of pointless digital video shorts..
Lynch's best short to date.
David Lynch's new short is only 16 minutes but it's really good.
It is everything you would expect from him, it is dreamy, surreal, and visually hypnotic.
I have yet to see Inland Empire but I was not that impressed with his output over the last decade.
Mulholland Drive was pretty good, but I didn't like the online releases very much.
I think Lady Blue Shanghai shows promise for the rest of Lynch's career.
Hopefully he will release some more shorts like this and maybe even a movie or two.
I hope he does soon, I really enjoy his works.
I think that Lady Blue Shanghai is Lynch's best short ever, and he has some very good shorts, such as The Alphabet, Lumiere, and Absurda.
All of those were good, but this is even better.
It's probably the most dream-like piece I've ever seen him do, and that's really saying something.
If you are a David Lynch fan I would recommend you watch this right now.
If you like his style then you will probably enjoy this a lot.
If you're fairly new to David Lynch but are interested, I still suggest you watch it.
It's really good and I hope to see more like it..
Lynch and Cotillard's Surreal Mystery.
Even though 'Lady Blue Shanghai' was made for a Lady Dior campaign it completely works as a standalone short film.
David Lynch yet again creates something that is atmospheric, surreal, chilling and bedazzling.
With some excellent cinematography, dazzling visuals, haunting score and the absolutely beautiful Marion Cotillard's enigmatic presence, it is easy to forget that 'Lady Blue Shanghai' was originally intended to promote a handbag.
It's made with style but none of it feels unnecessarily overdone.
The element of mystery had me completely hooked to the screen (this is something Lynch has successfully done in his previous films).
Like many of his films, this one also has an air of ambiguity and is left open to interpretation.
His current muse, Marion Cotillard possesses the classic beauty, vulnerability and mystery which allows her to own the role of the nameless woman.
'Lady Blue Shanghai' is easily one of David Lynch's best shortfilms but I would like to see him continue making feature films as the short running time does not do justice to his creation..
This is a great film, not a commercial!.
This 16-minute internet-aired motion picture was created by Dior.
It was available until October 2010 on Dior's website and the name Dior appears on-screen outside the picture viewing area.
Except for this the viewer would have no idea that the picture was advertising for Dior.The picture opens with Cotillard, whose character is not given a name in the motion picture, hearing a 1920s tango ("Fate-Tango Valentino" written by Nathaniel Shilkret to commemorate Rudolph Valentino) in the hall as she walks to her hotel suite.
She opens the door to see a circa 1940 RCA Victor phonograph playing Shilkret's original 78 rpm recording of the song.
An expensive Dior handbag then appears amidst elaborate visual effects involving smoke.
The remainder of the film is devoted to her reaction and the events leading to these mysterious happenings.The film is extremely well done, using sound and visual effects characteristic of David Lynch audio-video productions and with Cotillard giving an excellent performance.Thanks, Dior, for creating an entertaining film and for not ruining it with intrusive advertising..
Incorporates a lot of Lynchian ideas into a Dior commercial short....
Maybe I should be upset this is a commercial.
I've never bought any Dior anything and this won't make me run out and buy an expensive handbag...but it is a great film short.
Even with the Dior bag in place, the bag is so much like other Lynch objects...the blue box from Mulholland Dr., the envelope with the videotape in it in Lost Highway...it appears with flashes of electricity and smoke making me think the lead character must have ended up at the Shanghai branch of the Black Lodge.
The story and there is one, is that the lead character in true Lynchian style recounts she has been there before but hasn't...that she is afraid of what is in the bag.
It's interesting that Lynch choices his lead not to go to the object of the commercial.
It's a nice addition to the short that seems to speak secrets.The short goes on in the lead's flashbacks to another Shanghai where she has a lover and they are trying to run away from something...almost a flashing war like atmosphere, maybe the Battle of Shanghai...and he says he loves her, but he has to leave.
He disappears with a Fire Walk With Me blue rose.
She is left in the room, in the present, with the bag, which has a blue rose on top of it.
It has a lot of Lynch's mystery, what others call his "Women in Trouble" decade.
But really Laura Palmer and Dorothy Vallens were also women in trouble from prior decades.
The Blue Lady is just the newest of these creations, stuck in her 15 minutes of fame...was that a set choice, because it seems like one.
It's a beautiful shot piece, I love the framing of the scenes and the story, though short and made to sell a product, is again, delightfully anti-commercial and interesting enough to watch a few times and even analyze.
It's not perfect because it is a commercial first and art second, which gets a nine from me because of that.
I guess Lynch has to make money somehow, since arty directors only get a tiny fraction of what mainstream directors get.
But hats off to him, for taking what could be a boring commercial and making it a mysterious romp which has reflections of his past projects.
I am not sure why Dior commissioned him for this, but I am glad they did.
I only hope other companies hire him to do short films for their websites.
Nothing much really happens in this fifteen-minute short by David Lynch.
Yet I couldn't take my eyes off the nothing much.Another reviewer claims this is a dull movie but a fine commercial.
If I hadn't been told it was a commercial for Lady Dior or Luis Vuitton or Sigfried Sassoon or Max Factor, I wouldn't have known.Yes, the bespoke handbag features prominently in the film, but not TOO prominently, and it functions in the film as a link between a phantasmagorical past love and the present circumstances of the curiously boffo Marion Cotillard.
She enters her hotel room, a tango from the 1920s playing on the radio, and finds this glittering handbag on the floor of her room Shanghai and two Chinese house detectives appear and ask her about it.
The story involves her and a lover escaping a room in 1920s Shanghai and landing on a rooftop, at which point the lover says he can't be with her and fades away while handing her a blue flower.Back to the present.
Under the eyes of the two statuesque investigators, she finally opens the bag.
Lynch in the advertising business.
Just the idea, the concept of having Lynch do commercial work sounded interesting enough for me to see the film.
It was a bad decision.
The film is awful and bears nothing Lynch-like to it.
It feels like a 15-year-old is trying to do his vision of what Lynch is and fails at making even a recognizable copy.
The fact that the whole thing is a commercial and that the ubiquitous Dior with its bags stings your eyes is actually far from being the worst problem of this film.
The acting is terrible, the whole thing is edited like a student film, and hits on so many clichés one must try to justify Lynch by saying he actually made fun of them while taking their money.
All is there: silly flashbacks, slow-motion disappearance of a lover as the endless love-yous are being uttered, cheesy Instagram-like sequences of blurry images...
I just couldn't believe my eyes, really..
« hotel room » episode 4 : « shanghai surprise » (web).
This short movie (or long ads) could be played as a synthesis of Lynch movies as we can find all his personal world : the woman in danger / in love, the hotel, the investigators, the dreams, the red curtain, the mysterious box, the blue rose What's really excellent here is that Lynch goes to Asia and it's a wonderful change from small town, USA.
Furthermore, he is always the master in visual filmmaking and his use of this ultra fast camera allows him to deliver amazing shots with the neon in the nights !
However, what's awful here is the cast of Cotillard !
Next, for an artist, doing is craft in order to sell goods, even if it's Dior and particularly if it's Dior, is just like losing own's soul !
Today, brands use their money to attract « celebrities » and use their « glamor » to vampire their goods : everyone thinks it's good, well not me !.
I really love Marion Cotillard and her being in a David Lynch movie could be truly something special, even if it only goes for 15 minutes.
This is part of Cotillard's Dior campaign, where each film represents one color.
This one about the color blue is actually the longest of them.
Obviously the rose in the end, then maybe the blue tower and the lights of the cameras, but that's pretty much it.
I guess Lynch didn't really know how to use the color best, so he simply used the rose in the end.A woman comes to her hotel room, but music is running and somebody must have been there as there is an item in her room which doesn't belong there.
The woman is worried and calls security only to tell them the story of her and her significant other.
I have to say the mystery parts early on were solid, but when this turned into a film about Cotillard and her Asian friend, it really got worse.
I truly wanted this to be better.
I have to say, I even enjoyed Cotillard's one minute comedy short "Forehead Tittaes" from 2010 even more.
"Lady Blue Shanghai", not recommended.