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Mysteries of Love Documentary
Original Siskel & Ebert Review
Vignettes
Trailer & TV spots
A Few Outtakes
This is the first movie in which David Lynch really showed us all his cards and united themes and imagery, now familiar to millions through the likes of Mulholland Drive, Wild At Heart and Twin Peaks. Although 16 years old, David Lynch's Blue Velvet has lost none of its shock value. It is still deeply and uniquely disturbing, at times incredibly surreal and utterly compelling viewing. Beautifully filmed and directed by Lynch, its aesthetic value is often deliberately at odds with the subject matter and it is a work of dark genius. It also features superb acting performances all round. In particular, MacLachlan, Rosselinni, Dean Stockwell and Laura Dern shine, but it is Dennis Hopper's magnificent performance as a drug sniffing twisted psychopath that most people will remember.
Bizarre and frequently haunting, beautiful but frequently surreal, this is a movie that will stay with you for a very long time and really is a must see!
Then I saw Lost Highway - a film that, it seems, everyone hated BUT me. I thought it was a masterpiece of psychological horror; a real mind-bender with an extroardinary interior perspective on homicidal madness.
So I got to thinking: maybe I should give Blue Velvet another shot. Maybe I just wasn't ready for it 17 years ago. This time I would be prepared for Dennis Hopper's demented Frank Booth. I would be ready for the ear in the field. I would be ready for the unbelievably creepy and kinky scenes in Dorothy's apartment.
What I saw was a different film - not because the film had changed, but because I had changed. A lot can happen in 17 years. A guy can grow up. A guy can sense for himself the underbelly of perversion beneath the white-picket facade of middle America. A guy can come to appreciate a wickedly funny and disturbing film about the hypocrisy of genteel exteriors. A film like Blue Velvet, in other words.
David Lynch's great skill as a director is his ability to aim right for the hind-brain - the unreasoning, alligator brain where the primal self lives. His work tends to hit there first, and then ricochet to the reasoning self. That's why his work is so evocative. Critics and audiences alike struggled to "explain" Mulholland Drive, and while a sensible explanation for it is possible, it sort of misses the point. These films are waking dreams - or nightmares - that, like paintings or pieces of music, try to touch something deeper than the intellect.
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