Review by Michael Jacobson
Stars: Kyle MacLachlan, Isabella Rossellini, Dennis
Hopper, Laura Dern
Director: David Lynch
Audio: DTS HDl 5.1
Video: Anamorphic Widescreen 2.35:1
Features: See Review
Length: 120 Minutes
Release Date: May 28, 2019
a strange world..."
The Straight Story notwithstanding,
the cinematic world of David Lynch is usually that of a dream, where images seem to float
around and bump into one another at random, creating visuals that are
sometimes fascinating, sometimes repulsive, and in many cases, both at the
same time. He always seems to make movies for
his fans. If
youre one of them, as I am, you tend to plunge headlong into his work with rabid
abandon, and relish the fact that for a good two hours or so, you are as free from the
real world as you can possibly get. For those
who arent fans, and this group includes not only general audience members but
well-spoken critics like Roger Ebert, its understandable. Those of us who cherish the vision of David Lynch
have long since learned not to beat our heads against the wall over this issue. The non-fan says of the Lynch film,
Its creepy. Its weird. Its confusing. I have no idea what it means. And those are the exact same reasons the rest of
us like it.
If youre not sure whether or not youre a David Lynch fan,
I would suggest that Blue Velvet is probably
your best litmus test. Like all of his
movies, the votes were decidedly split on this one. Some
called it one of the greatest films of the 80s.
Some saw it as sick, perverted, and twisted, and the lowest form of exploitation. Theres truth in both arguments.
For starters, I would suggest admirers of American Beauty give Blue Velvet a
look; there are a few thematic similarities. Both
films are preoccupied with the darker side of the American dream paradise known as
suburbia, and both films achieve a kind of wicked humor by juxtaposing the glossy, white
bread and green lawn image of suburban life with the strange stirrings and desires that
lurk beneath the surface.
The opening shots of Blue
Velvet visually expound on this theme. This
neighborhood, known as Lumberton, is as pretty as a picture postcard and as strangely
unreal as a 50s sitcom. The fireman
drives down the street and waves. The radio
gives the time at the sound of the falling tree. A man waters his beautiful lawn, then struggles
with the hose. The hose is bent, causing the
water to rupture through at the spout. The
man grabs his neck and collapses (was the image of the hose indicative of what was
happening to the man?), and lies there motionless, while a dog ignores him and slurps the
water from his hose. Then the camera takes us
closer and closer, in through the grass and under the surface of the lawn, where black,
slimy bugs burrow and chew and crawl over one another.
The man is taken to the hospital, and his son Jeffrey (MacLachlan)
comes home from school to help out. Walking
along the old fashioned country roads, he stumbles across a rotting severed human ear,
which he immediately turns in to the police. The
detectives daughter, Sandy (Dern), knows of a lady night club singer, Dorothy
(Rossellini) who is under investigation for a possible murder connection. Jeffrey, with all the zeal and gumption of a Hardy
boy, decides to investigate her apartment for clues.
He soon ends up in way over his head, and deeply entangled in a
mystery more strange and more dangerous than he ever imagined. While spying from the closet, he learns that
Dorothy is somewhat enslaved to a violent, gas sniffing madman named Frank Booth (Hopper,
in the role that cemented his legend for all time), who may be holding her son and husband
captive. He beats and rapes her, while
screaming out lines that would be funny if not said in such an unsettling context. He leaves, but Dorothy soon discovers Jeffrey in
her closet, and thus begins a strange new twist in the story, as the two become lovers. Strange, because we learn a new facet about her
violent relationship with Frank. She actually
likes to be hit.
The constant juxtaposition between the two worlds give the film a
dark sense of humor, thats probably only fully appreciated after the movie is over
and some distance has developed. There is a
kind of temporal displacement, as Jeffrey and Sandy both look like clean cut, sweet kids
out of the early 1950s
Jeffrey even drives an old style red convertible, and
the two hang out together in malt shops, and not to mention the soundtrack of old love
songs like Blue Velvet or In Dreams
but looking at the
hairstyles and cars of other characters, we know the film takes place in more recent
times. This kind of strange sense of
times loss of meaning is the kind of effect Lynch often achieves in his movies,
giving the pictures an extra dimension of surrealism that you cant always quite put
your finger on.
But this timeless, wholesome look to the town and the lead characters
clashes harshly with the dark underbelly and bizarre violence and sexuality under the
surface, as personified by Dorothy and Frank. The
fact that our protagonist, Jeffrey, crosses that line and finds himself more and more
trapped by that dark side, adds to the already disturbing nature of the film.
Although not quite as shocking today, its important to remember
that when the film came out in 1986, it was showing things on the screen that were quite
out of the norm for mainstream Hollywood entertainment.
Which is, of course, why some reacted (and continue to react) with such unforgiving
venom. This film took many viewers to a place
that they didnt want to go, or even acknowledge its existence. It was, in a sense, a cinematic raping of
I cant tell you if Blue
Velvet will be to your liking, other than if you already have an aversion to David
Lynch, then this picture wont be your idea of a good night home with the
Blu-ray player. But if you feel adventurous and yearn for
something a little out of the ordinary, then this film, like most of Lynchs work,
will truly open your eyes and unsettle your foundation for a couple of hours.
This is more like it...the previous incarnations of this movie were different, but equally problematic. In high definition, the strange, wonderful and frightening world of David Lynch finally gets the homecoming it deserves. The print is clean, the colors are bright and beautiful, and very little grain is apparent, apart from a few of the most dark scenes.
Uncompressed audio definitely serves the weirdness here. Sound is crucial to a David Lynch film, and here we get more punch to the bottom end from the subwoofer, more panning effects, and clearer sounding dialogue than before. Dynamic range is improved, as is Angelo Badalamenti's memorable score.
Features * **1/2
The extras are most welcome, starting with a new 51 minute
collection of deleted scenes. Should they have been kept in?
Probably not, but like anything David Lynch does, for me, once I started
watching, I couldn't stop. Most of the beginning of the film is fleshed
out, showing what happened to Jeffrey's father and his return home from school.
None of the strangeness was left on the cutting room floor, but these scenes are
still quite fascinating. There is the featurette "Mysteries of Love". It features plenty of new
interviews with cast members Kyle MacLachlan, Isabella Rossellini, Dennis Hopper
and Laura Dern, plus plenty of archival footage of David Lynch discussing his
film. In addition, there are some outtakes for color testing, plus a
modern look back at the film with archival footage that's quite a trip in and of
The extras are most welcome, starting with a new 51 minute collection of deleted scenes. Should they have been kept in? Probably not, but like anything David Lynch does, for me, once I started watching, I couldn't stop. Most of the beginning of the film is fleshed out, showing what happened to Jeffrey's father and his return home from school. None of the strangeness was left on the cutting room floor, but these scenes are still quite fascinating.
There is the featurette "Mysteries of Love". It features plenty of new interviews with cast members Kyle MacLachlan, Isabella Rossellini, Dennis Hopper and Laura Dern, plus plenty of archival footage of David Lynch discussing his film. In addition, there are some outtakes for color testing, plus a modern look back at the film with archival footage that's quite a trip in and of itself.
Fans embrace it, detractors loathe it if you arent sure which one you are, slip into Blue Velvet for a couple of hours and see what you think. One things for certain you wont walk away from the picture on neutral ground.