the lost highway

[Ocean Moves]

Watched this film for the first time last night.

I'm inclined to think the following review sums it up.

What do others here think of the film? I seem to remember there
is at least one fan on these pages.

review:
(2/5)
David Lynch's reputation as master of the surreal is not in any danger with the release of his first film in five years, Lost Highway. In the new film, Lynch's bizarre, dream-like approach is as fascinating as ever... and every bit as frustrating as well. Lynch's gift has always been his curse, and his latest work is just more evidence supporting that fact.

The "plot" defies traditional explanation, but I'll try anyhow. The excellent first act introduces us to married couple Fred and Renée Madison (Bill Pullman and Patricia Arquette). Immediately we get the sense that all is not well here: Fred, a jazz saxophonist, suspects that his pretty brunette wife could be up to no good whenever he is away performing at a club. Things get creepy when the two start finding videotapes anonymously dropped off on their doorstep each morning. These tapes begin innocently enough--an exterior shot of their house--but each successive tape goes further, entering the house, eventually showing things that should not be seen by outsiders. Somehow figuring into this is a white-faced Mystery Man (Robert Blake), who, in a genuinely spooky moment, confronts Fred at a party. This segment of the film is Lynch at his best; with the aid of cinematographer Peter Deming and master composer Angelo Badalamenti, he ably creates a chilling atmosphere of dread that gets under the skin. We know something bad is bound to happen; we just don't know what.

Needless to say, things do get bad; unfortunately, the bad extends to the audience. Lynch's fervid imagination once again gets the better of him, as the weirdness of plausible situations clears out to make way for the just plain weird. Fred is sentenced to Death Row for a brutal crime depicted on one of the videotapes, and after suffering a series of massive head pains, he wakes up one morning a new man--literally: 19-year-old mechanic Pete Dayton (Balthazar Getty), who is promptly released from prison. Pete eventually gets sexually entangled with Alice, the sultry blonde girlfriend of a local gangster/pornographer (Robert Loggia). The "clever" twist? Alice is also played by Arquette.

To describe anything that goes on beyond this stage is pointless, for at this point it becomes clear that the film, which began so promisingly, is actually about nothing; all established characters and plots are virtually irrelevant. What Lynch and co-scripter Barry Gifford (who also had a hand in Lynch's horrid mess Wild at Heart) ultimately appear to be after is an experimental exercise in elliptical dialogue and situations; in non-linear, circular narrative. Granted, this is an interesting experiment; I can't say I was ever bored. But I just wish there were some kind of accessible story within this interesting framework, a real plot on which to hang all the graphic sex and gruesome violence--in short, a point to all of this. Say what you will about Lynch's last film, 1992's much-maligned Twin Peaks--Fire Walk with Me, but at least that film, its many baffling "Lynchian" touches aside, had a genuine story at its core; distinct characters and plot can be delineated. Here, there's a lot to feed the visceral senses, but nothing else.

Lost Highway, like other Lynch films, does stay with you long after it's over. But for once I'd like to know exactly what exactly is it that stayed with me and why it does. In the end, Lost Highway lives up to its title--a long, winding road that will leave all travellers lost.

[Big Si]

Here ya go!

There's more than one fan of Lynch on here. The trick is to just switch off yer brain and just watch

My fave scene

[Ocean Moves]

It was interesting to watch, but I'm afraid I found it
frustrating for all the reasons described in this review.

Actually, what I find more frustrating is that I think the
production techniques, soundtrack, atmosphere etc
are subliminally good - and I'm aching to see them
employed in a film that *does* have a coherent plot,
in the conventional sense. (and I don't believe the
visual style of the film necessitates the narrative style
employed here - that's probably where I differ with
Lynch fans on the matter!)

[Badlander]

I don't even try to understand or even make sense of Lynch films anymore.

Can't call myself a fan tbh. A bit too nonsensical for my taste.

[GC]

Just like Mullholland Drive, bloody brilliant the first three quarters, then...

[lazarus corporation]

I'm waiting for Lynchfanatic to reappear for this thread...

[6FeetOver]

Yeah - wonder where she's been hiding..?

[Dr. Moody]

if you think of Mulholland drive as a treatise or exploration of being a director and similarily inland empire as a study of the actor then lynchs' logic becomes more visible and acessable, bit drunk more later. less of a surrealist and more of a Lacanian/Deleuzian psychosexual school of weirdness.

[Big Si]

Yeah - wonder where she's been hiding..?

Getting married

[6FeetOver]

For real?! Awwwwwww!