David Lynch
Retrospective.
“It’s a strange world”. This candid statement uttered by Kyle MacLachlan’s character in Blue Velvet effectively conveys the often haunting and surrealist images director David Lynch portrays in his mysterious films. An American film director with a reputation for baffling audiences with confusing and often fragmented plots, bizarre and sadistic characters, and mystical themes; David Lynch has been able to establish a career through displaying eerie images representing the nefarious and often supernatural aspect of existence. A true auteur in every sense of the word, Lynch submerges himself in every aspect of his creations as a director, scriptwriter, producer, editor, actor, cinematographer, and soundtrack coordinator. Equally impressive has been Lynch’s refusal to conform to the Hollywood system and create films which are tailor made for box office success. He has succeeded in creating visually intriguing and thought provoking films in an era of filmmaking characterized by the rigid structure of raunchy comedies and action films. However, Lynch’s greatest triumph as a director has been his ability to tear down the American dream. What I mean by this is that Lynch succeeded in unveiling the dark underworld of society within the prototypical white picket-fenced, peaceful, suburban neighborhood in which every American wants to raise kids. This is prominently shown in the opening scene of Lynch’s 1986 neo-noir classic, Blue Velvet. The scene starts with visual images promoting the American dream: the aforementioned white picket fence, large house, a man watering his lawn, bright red fire engines passing with smiling fireman and Dalmatians, and kids playing in a serene suburban neighborhood. In the blink of an eye Lynch smashes this American ideal by having the man watering his lawn become tangled in the water hose and almost strangles himself to death. As the man lies on the grass struggling for his life, the camera zooms in deep into the grass to show black beetles scurrying around. This disturbing image symbolizes the dark underworld of society hidden from sight that lies underneath the exterior of seemingly perfect suburban neighborhoods.
This destruction of the American dream can also be seen in a lesser degree in Lynch’s brilliant cult television series Twin Peaks. In Twin Peaks, much like in Blue Velvet, a small, peaceful, rural area far from the supposed dangers of urban life is uprooted as popular high school student Laura Palmer is murdered. This murder ruins the sanctity of the normally peaceful town of Twin Peaks and opens the eyes of its residents to the evil forces that have been there lurking in the shadows all along.
Twin Peaks is still considered by some to be the greatest work ever created by David Lynch. The television series, created in 1990 by Lynch and Mark Frost, was a groundbreaking program that paved the way for future unconventional and provocative television. Although it was canceled prematurely after two seasons, largely due to Lynch’s unwillingness to out rightly reveal Laura’s killer earlier on, it remains one of the boldest endeavors in television history. Perhaps the most impressive part of Twin Peaks was that it was ahead of its time in regards to subject matter. The series can take credit for pushing the envelope for a television series by exploring such graphic subject matter as murder, rape, cocaine use, prostitution, adultery, abuse, and incest. Beginning with the discovery of the prom queen Laura Palmer’s body, Twin Peaks impressively shows how even the most remote and quaint areas are subject to evil in the world. Artfully combining humor, mostly through the eccentric FBI agent Dale Cooper (Kyle MacLachlan), quirky townies, and a murder revolving around the supernatural, Twin Peaks fully showcases David Lynch's brilliance.
Twin Peaks is still considered by some to be the greatest work ever created by David Lynch. The television series, created in 1990 by Lynch and Mark Frost, was a groundbreaking program that paved the way for future unconventional and provocative television. Although it was canceled prematurely after two seasons, largely due to Lynch’s unwillingness to out rightly reveal Laura’s killer earlier on, it remains one of the boldest endeavors in television history. Perhaps the most impressive part of Twin Peaks was that it was ahead of its time in regards to subject matter. The series can take credit for pushing the envelope for a television series by exploring such graphic subject matter as murder, rape, cocaine use, prostitution, adultery, abuse, and incest. Beginning with the discovery of the prom queen Laura Palmer’s body, Twin Peaks impressively shows how even the most remote and quaint areas are subject to evil in the world. Artfully combining humor, mostly through the eccentric FBI agent Dale Cooper (Kyle MacLachlan), quirky townies, and a murder revolving around the supernatural, Twin Peaks fully showcases David Lynch's brilliance.Although Lynch received his first directorial success on the big screen with the low budget Eraserhead (1977) and critically acclaimed The Elephant Man (1980), his true cinematic style began to prominently shine in his subsequent films; starting with Blue Velvet (1986). This is where Lynch first presented the dark side of human nature as being represented by a true evil embodiment. Dennis Hopper’s chilling portrayal of the sadistic helium inhaling Frank Booth, a figure who is chiefly responsible for corrupting the peaceful suburban town of Lumberton. Operating out of Lincoln, the bad part of town, Frank is responsible for murder, drug dealing, rape, and kidnapping which plague the town of Lumberton. Another example of this evil embodiment is shown through the character Bobby Peru (William Dafoe). In Wild at Heart Peru is the true definition of evil as he physically molests Laura Dern’s character and later tries to kill Sailor (Nicholas Cage) as they rob a bank. The importance of the evil characters in Lynch’s films is that they represent the dark side which is found in human nature and also try to corrupt the more innocent characters into committing evil acts. For example, in Twin Peaks the demonic figure Bob spiritually inhabits Leland Palmer and forces him to murder his own daughter Laura.
Lynch is not a complete cynic however, as a lot of his films include some
kind of angelic figure or guardian who counteracts the evil embodiment to try and save the innocent. This concept can be seen in the feature length prequel to the Twin Peaks series; Lynch’s Twin Peaks Fire Walk with Me. In this film, the satanic Bob and angelic Federal Agent Dale Cooper face off as Bob attempts to steal Laura Palmer’s soul.
The distinct personal style of David Lynch which prevails in his films has lead to viewers dubbing it “Lynchian”. This Lynchian style is characterized by a fascination with the paranormal, dark rooms, the human subconscious and dreams, devilish and angelic figures, the presence of evil in peaceful small town areas, red curtains, the use of blue and red, and the use of dry or often bizarre humor. In many ways Lynch displays a film noir style in most of his movies. One film noir element, the femme fatale, is a woman (usually blonde) who gets the male protagonist to do what she wants through the use of sex and deception. This is shown through Patricia Arquette’s manipulative character in Lost Highway as well as the emotionally frigid and deceptive Laura Palmer in Twin Peaks. The line between reality and dreams is incredibly blurred in Lynch’s movies, leaving the viewer to feel as if he/she is watching characters in some parallel universe which transcends scientific explanation. In order to illustrate this feeling one need not look further than the dreams of Dale Cooper displayed in Twin Peaks. In these haunting dreams Cooper is continually displayed sitting in a room in a parallel universe containing black and white striped floors, red curtains, a woman who looks exactly like the murdered Laura Palmer, and a midget who gives Cooper clues to solving the murder. Although this description of the scene may seem like it is meant to be weird just for the sake of being weird, it does serve a purpose. Much like the rest of Lynch’s films, Cooper’s dreams show Lynch’s utilization of the colors blue and red, as well as the importance he places on the encoded messages that can be found in an individual’s dreams.
Another distinct element found in Lynchian film is the fear of the unknown. In Blue Velvet for example, Jeffrey Beaumont discovers a seedy underworld in his town that he has never known existed. Again, the main objective that Lynch accomplishes in Blue Velvet, as well as his other films, is lifting the proverbial rock up to show the dark faction of society which is hidden underneath it. The viewer, as well as the relatively innocent characters in the film, must decide whether they wish to explore this dark underworld being presented to them or decide to flee from it.
As a director, David Lynch somewhat resembles another director famous for his unapologetic presentation of often haunting and disturbing images; Alfred Hitchcock. Much like Hitchcock in films such as Vertigo and Rear Window, Lynchian film also includes the concept of voyeurism (gaining sexual gratification by watching others without being seen). Voyeurism is shown in Blue Velvet as the main character Jeffrey (Kyle MacLachlan) watches Frank rape Dorothy Vallens (Isabella Rossellini) while hidden inside a closet. This scene bears a strong resemblance to Hitchcock’s Psycho, in which the viewer watches a woman being killed and is made to feel guilty for looking at the woman victim as a sexual object. Another instance of voyeurism is shown in the Lynch’s film Lost Highway when the character Pete (Balthazar Getty) is watching the woman he is having relations with engaging in sexual acts with another man on a television.
When thinking about what distances David Lynch from other filmmakers in history, the thing that comes in mind is his uncanny ability and willingness to explore the human subconscious. Lynch explores the human subconscious in one way through placing a heavy importance on dreams in his films. This is shown through Lost Highway when the character Fred has a dream in which he wakes up next to a woman that looks like his wife but is not. Fred describes the dream saying, “You were, lying in bed... but it wasn't you. It looked like you, but it wasn't”. This dream, much like the majority of dreams in Lynch’s films, are clues or passageways to the truth as Fred’s wife indeed turns out to have two separate identities. Another manner in which Lynch examines the subconscious is through his implementation of memory as a vital part of his films. This concept is shown in Mulholand Drive as the character Rita (Laura Harring) is involved in a car crash and suffers amnesia. Rita, not recalling anything previous to the accident, enlists the help of Betty (Naomi Watts) as they try to piece together clues to solve the mystery.
Through his cinematic talents and trademark surrealist style, David Lynch has developed a large and devout cult audience. However, his career has not been without the occasional flop. One example is Lynch’s Dune, a science fiction adaptation of the Frank Herbert novel. The film, boasted an ensemble of Lynch regulars such as Kyle MacLachlan, Jack Nance, and Dean Stockwell. Although the film included members of Lynch’s regular ensemble it explored a new genre for Lynch; science fiction. Many devout David Lynch fans accustomed to the director’s surreal thrillers were disenchanted with Lynch’s departure from his usual genre. This disenchantment led to Dune becoming a commercial failure, garnering only 27.4 million dollars while costing 45 million dollars to make. Another commercial failure that Lynch endured was the fragmented Lost Highway. Although the film contained many of the same elements used in Lynch’s more commercially favorable films, the confusing nature of the plot and actors playing more than one characters left audience members scratching their heads. Despite enduring these commercial failures, Lynch has not been discouraged in his mission to create otherworldly films which provoke thought and meaning. With his poignant use of dry humor, surrealist and disturbing images, and cerebral plots Lynch has created a unique cinematic style all his own. Whatever projects Lynch decides to embark on in the future one thing is clear; Lynch will be remembered forever for his uncanny ability to uncover the darkness that hides within the shadows of society.
Lynch is not a complete cynic however, as a lot of his films include some
kind of angelic figure or guardian who counteracts the evil embodiment to try and save the innocent. This concept can be seen in the feature length prequel to the Twin Peaks series; Lynch’s Twin Peaks Fire Walk with Me. In this film, the satanic Bob and angelic Federal Agent Dale Cooper face off as Bob attempts to steal Laura Palmer’s soul.The distinct personal style of David Lynch which prevails in his films has lead to viewers dubbing it “Lynchian”. This Lynchian style is characterized by a fascination with the paranormal, dark rooms, the human subconscious and dreams, devilish and angelic figures, the presence of evil in peaceful small town areas, red curtains, the use of blue and red, and the use of dry or often bizarre humor. In many ways Lynch displays a film noir style in most of his movies. One film noir element, the femme fatale, is a woman (usually blonde) who gets the male protagonist to do what she wants through the use of sex and deception. This is shown through Patricia Arquette’s manipulative character in Lost Highway as well as the emotionally frigid and deceptive Laura Palmer in Twin Peaks. The line between reality and dreams is incredibly blurred in Lynch’s movies, leaving the viewer to feel as if he/she is watching characters in some parallel universe which transcends scientific explanation. In order to illustrate this feeling one need not look further than the dreams of Dale Cooper displayed in Twin Peaks. In these haunting dreams Cooper is continually displayed sitting in a room in a parallel universe containing black and white striped floors, red curtains, a woman who looks exactly like the murdered Laura Palmer, and a midget who gives Cooper clues to solving the murder. Although this description of the scene may seem like it is meant to be weird just for the sake of being weird, it does serve a purpose. Much like the rest of Lynch’s films, Cooper’s dreams show Lynch’s utilization of the colors blue and red, as well as the importance he places on the encoded messages that can be found in an individual’s dreams.
Another distinct element found in Lynchian film is the fear of the unknown. In Blue Velvet for example, Jeffrey Beaumont discovers a seedy underworld in his town that he has never known existed. Again, the main objective that Lynch accomplishes in Blue Velvet, as well as his other films, is lifting the proverbial rock up to show the dark faction of society which is hidden underneath it. The viewer, as well as the relatively innocent characters in the film, must decide whether they wish to explore this dark underworld being presented to them or decide to flee from it.
As a director, David Lynch somewhat resembles another director famous for his unapologetic presentation of often haunting and disturbing images; Alfred Hitchcock. Much like Hitchcock in films such as Vertigo and Rear Window, Lynchian film also includes the concept of voyeurism (gaining sexual gratification by watching others without being seen). Voyeurism is shown in Blue Velvet as the main character Jeffrey (Kyle MacLachlan) watches Frank rape Dorothy Vallens (Isabella Rossellini) while hidden inside a closet. This scene bears a strong resemblance to Hitchcock’s Psycho, in which the viewer watches a woman being killed and is made to feel guilty for looking at the woman victim as a sexual object. Another instance of voyeurism is shown in the Lynch’s film Lost Highway when the character Pete (Balthazar Getty) is watching the woman he is having relations with engaging in sexual acts with another man on a television.
When thinking about what distances David Lynch from other filmmakers in history, the thing that comes in mind is his uncanny ability and willingness to explore the human subconscious. Lynch explores the human subconscious in one way through placing a heavy importance on dreams in his films. This is shown through Lost Highway when the character Fred has a dream in which he wakes up next to a woman that looks like his wife but is not. Fred describes the dream saying, “You were, lying in bed... but it wasn't you. It looked like you, but it wasn't”. This dream, much like the majority of dreams in Lynch’s films, are clues or passageways to the truth as Fred’s wife indeed turns out to have two separate identities. Another manner in which Lynch examines the subconscious is through his implementation of memory as a vital part of his films. This concept is shown in Mulholand Drive as the character Rita (Laura Harring) is involved in a car crash and suffers amnesia. Rita, not recalling anything previous to the accident, enlists the help of Betty (Naomi Watts) as they try to piece together clues to solve the mystery.
Through his cinematic talents and trademark surrealist style, David Lynch has developed a large and devout cult audience. However, his career has not been without the occasional flop. One example is Lynch’s Dune, a science fiction adaptation of the Frank Herbert novel. The film, boasted an ensemble of Lynch regulars such as Kyle MacLachlan, Jack Nance, and Dean Stockwell. Although the film included members of Lynch’s regular ensemble it explored a new genre for Lynch; science fiction. Many devout David Lynch fans accustomed to the director’s surreal thrillers were disenchanted with Lynch’s departure from his usual genre. This disenchantment led to Dune becoming a commercial failure, garnering only 27.4 million dollars while costing 45 million dollars to make. Another commercial failure that Lynch endured was the fragmented Lost Highway. Although the film contained many of the same elements used in Lynch’s more commercially favorable films, the confusing nature of the plot and actors playing more than one characters left audience members scratching their heads. Despite enduring these commercial failures, Lynch has not been discouraged in his mission to create otherworldly films which provoke thought and meaning. With his poignant use of dry humor, surrealist and disturbing images, and cerebral plots Lynch has created a unique cinematic style all his own. Whatever projects Lynch decides to embark on in the future one thing is clear; Lynch will be remembered forever for his uncanny ability to uncover the darkness that hides within the shadows of society.
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