Blue Velvet (1986) is probably the last David Lynch film—apart from the atypical The Straight Story (1999)—that was at least more or less accessible to the general public. Taken at face value, it has a fairly straightforward story line and works as a singularly bizarre crime/drama. Its strangeness captured the public’s imagination, as did the gonzo performance of Dennis Hopper as the foul-mouthed and perverse Frank Booth (a role Hooper disturbingly claimed at the time was him). Looked at more deeply, it’s one of the most subversive films of the 1980s, delving into the corrupt underside of the then-idealized faux innocence of the 1950s with an almost alarming ferocity.
The film sets its tone from the very onset with its slow-motion valentine to small-town America—set to Bobby Vinton’s “Blue Velvet”—that looks for all the world like something Ronald Reagan would use for a presidential campaign. The shift comes when something goes wrong with these idyllic images and an elderly man (Jack Harvey) suffers some kind of seizure while tussling with a garden hose. Upon his collapse, the camera literally burrows into the ground, revealing what lies beneath this unreal surface. The bulk of the film explores this hidden world.
The opening also sets up the plot, since the man is the father of Jeffrey Beaumont (Kyle MacLachlan), who comes home to the sleepy town of Lumberton owing to his father’s never clearly defined illness. It’s on his way from the hospital that Jeffrey makes an unsettling discovery—a human ear lying in a grassy field. (The film—which was shot in Wilmington and Lumberton—here establishes its North Carolina cred via a Sundrop bottle lying near this grisly discovery.) As someone told me at the time the film came out, “From there it gets really weird.” They weren’t kidding.
Jeffrey calls in the police who agree that, yes, it’s an ear. The whole thing arouses Jeffrey’s curiosity, and with the not-entirely-willing aid of Detective Williams’ (George Dickerson) daughter Sandy (Laura Dern), he proceeds to play detective (it’s not without meaning that Lynch once referred to the film as “The Hardy Boys Go to Hell”). What he finds is a strange woman, Dorothy Vallens (Isabella Rossellini), in a strange apartment on the “wrong side” of town. She’s a nightclub singer who is being held as some kind of hostage by a twisted character named Frank Booth (Dennis Hopper), who is better seen than described. There’s an allure to all this darkness, and Jeffrey is slowly pulled into the corruption that lies beneath the surface of the picture-book community.
What’s remarkable is that Lynch got away with the film. It has—at least in Lynch terms—a reasonably straightforward narrative. By that I simply mean that it’s possible to follow—as long as you don’t ask too many questions and don’t need all the blanks filled in. This, however, does not keep it from being just downright strange in every other capacity. And it’s not just that the story line is odd. The whole feeling of the film is off-balance and sinister. The time period is unsettled. It more or less seems to be taking place in the present day, but it mashes together elements from several eras. Never mind that it seems the height of improbability that Lumberton would have a nightclub with a chanteuse, it has one with a chanteuse singing into a microphone that might be from the 1940s. All of it creates an atmosphere that’s at once penetrating and nebulous. And if you think it has a happy ending, where the status quo has been restored, take a close look at the robin (the symbol of happiness established by the film) and think again.
What is this shown on?
A good review. I saw this when it first came out and one reaction I recall afterwards (shared by the group I attended the showing with) was how much unexpected humor (dark though it was) the movie contained.
What is this shown on?
I’m not sure I understand the question. If you mean format, it’s projected DVD. Were you hoping for 35mm?
Just to clarify.. the showing is free, correct?
Just to clarify.. the showing is free, correct?
Yes. Were you told otherwise? I ask because there was some confusion on that point last night, which I only found out about today. The Tuesday night screenings are free and open to the public. Other events — special screenings like the upcoming I Am Love showing on July 21 — are available only to members, but this doesn’t apply to these screenings. This doesn’t mean that we wouldn’t like you to join, but it’s not a requirement.
[b]Yes. Were you told otherwise?[/b]
No, I just wasn’t entirely sure. Would you recommend arriving early?
I’ve never seen [i]Blue Velvet[/i] before, so this should be an interesting viewing.. to say the least. I’ve only seen three other Lynch films.
any showing of this movie before midnight isn’t worth attending. my favorite artsy flick of the 80s.
One of the most memorable opening scenes of all the movies I’ve ever seen. Explicitly revealing what goes on underneath the pristinely manicured world.
The other would be the opening to “Apocalypse Now”.
Would you recommend arriving early?
All I’ll say — because it’s going to vary from title to title — is that even with importing two extra loveseats last night at Tetro, we ended up with some folks sitting on the floor.
An artist friend of mine moved into the apartments where much of the film was shot in Wilmington. Views of the town below from the stairwells and the dimly lit corridors made it eerie to visit with him afterwards.
One of the most memorable opening scenes of all the movies I’ve ever seen. Explicitly revealing what goes on underneath the pristinely manicured world.
The other would be the opening to “Apocalypse Now”.
Wow, you managed to type the very words that were in my head, prior to me reading this. That’s bizarre… like a Lynch film.
Wow, you managed to type the very words that were in my head, prior to me reading this.
Both are terrific, but I’m not sure they’re at the top of my list. All the same, you’ve almost certainly given me a “Screening Room” topic. Thanks!
Both are terrific, but I’m not sure they’re at the top of my list. All the same, you’ve almost certainly given me a “Screening Room” topic. Thanks!
That sounds like the starting point for a great topic. I admit that I’m definitely curious what would be on the top of your list. I know Justin has previously mentioned his love for the opening of Manhattan (very understandable).
I admit that I’m definitely curious what would be on the top of your list. I know Justin has previously mentioned his love for the opening of Manhattan (very understandable).
It would be on mine, too. I’ve been playing with the idea all day. We’ll see…
Memorable opening scenes seem very connected to one life experiences.
For me Apocalypse Now is significant because I was married to a Huey pilot during the VietNam war who served two term. The wop wop wop in the background as the protaganist ponders his mission…shot upside down to signify a world turned up side down…and the Doors music all work toward my own feelings of the immense anger and the horror of an unjust political war. Needless to say the use of soldiers for cannon fodder is something that is especially troubling. How I hoped a lesson was learned, but no it wasn’t.
And the Blue Velvet imagery of the illusion of the perfect surface/ savage undercurrents is something I’m especially sensative to. Shot in intense kodachome-y color helps to.
I heard that Dennis Hopper’s scenes were not scripted and that in fact he had no idea he was in a movie. Lynch filmed his scenes with a hidden camera.
Well, I know where I’ll be on Tuesday!!! So excited!
Ken. I have no idea what I am supposed to be looking at with the robin at the end. Can you tell me what you think it means?
Ken. I have no idea what I am supposed to be looking at with the robin at the end. Can you tell me what you think it means?
I’m glad you phrased it that way — as in what I think it means. But look at it — it’s mechanical. It’s very obviously, deliberately mechanical. You’d have to go back to Mary Poppins (1964) to find a more patently bogus bird. So to me, what this says is that the status quo may have been made to appear restored and the pre-underground look of Lumberton from the film’s first few scenes back in place, but that that vision — the vision of this picture perfect earlier era — is a sham.
Yup. That’s a human ear alright.
Lynch isn’t a disturbed man at all. He’s our sanest director, because he’s righteously angry at polite society’s refusal to acknowledge its sinister side. Same reason I used to mail lists of rape statistics to the members of the university football team from false return addresses.
Attended the screening last night. Seeing this film projected was a dream come true for this little film buff. Thank you so much for screening the film! Drove all the way from Easley to see it last night. I really want to see the restored print of Tommy that you mentioned last night, as well as the advanced screening of I Am Love. I’ll have to get a membership as soon as possible! Once again, thanks, Mr. Hanke! Had a great time.
Once again, thanks, Mr. Hanke! Had a great time.
You’re welcome. Did you come up and say hi? If you didn’t, you ought to have done.
I would have, but you were talking to others at the time. Didn’t want to interrupt! Plus, I had to hurry on back to Easley. However, I will definitely be back, and will talk with you then. I’m seriously thinking about getting a membership!