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Lost Highway's Structure Resembles a Moebius Strip |
Barry Gifford explained that he and David Lynch used the concept of a Moebius strip to help them structure
Lost Highway (1997): "
We realized we didn't want to make something that was linear, and that's why the Moebius strip. A Moebius strip is a long strip of paper curved initially into a circle, but with one end flipped over. The strip now has only one side that flips both inside and outside the shape. It made it easier to explain things to ourselves and keeping it straightforward. The story folds back underneath itself and continues."
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Renee Seems Unusually Supportive and Caring as a Wife, Which Just Seems to Drive Fred Crazier |
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Fred Shares a Dream He Had About Renee and that in the Dream She Was Not Really Renee at All |
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David Lynch Returns to a Familiar Visual Symbol from Twin Peaks |
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Supposedly in His Dream, Fred Approaches Renee... |
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But as He Approaches He Says that Renee Really was Not Renee, Echoing Fred's Own Transformation Later |
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Fred is Frightened After Recounting the Dream and Looks to His Wife for Comfort |
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But No Longer Sees Renee as Renee, But as a Strange Figure Lynch Refers to as the Mystery Man |
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Fred is Really Becoming Someone Else, But He Projects His Own State of Mind on Renee |
David Lynch remarked: "You can say that a lot of Lost Highway is internal. It's Fred's story. It's not a dream, it's realistic—though according to Fred's logic. But I don't want to say too much. The reason is I love mysteries. To fall into a mystery and its danger... Everything becomes so intense in those moments.
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When most mysteries are solved, I feel tremendously let down. So I want things to feel solved up to a point, but there's got to be a certain percentage left over to keep the dream going. It's like at the end of Chinatown: The guy says, 'Forget it, Jake, it's Chinatown.' You understand it, but you don't understand it, and it keeps that mystery alive. That's the most beautiful thing."
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Someone Broke into the House and Taped Them as They Slept |
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Renee Calls the Police for Help |
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This Image Connects Visually to Fred's Skewed Perspective of Renee Later |
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The Police Inquire About Whether the Madisons Own a Video Camera. Fred
Explains His Dislike for Video: "I like to remember things my own way." |
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When the Police Ask Fred to Elaborate, Fred Responds: "I do not necessarily want
to remember things as they happened, but the way I want to remember them." |
The officers do not seem amused by Fred's quirky disenchantment with reality, but after checking the house thoroughly they suggest the Madisons make use of their security system once again. Apparently the system was always going off, leading the couple to abandon its use until now. After this quick encounter with the police, Fred and Renee return back to their normal routine.
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Fred and Renee Go to Andy's Party, Apparently an Old Friend Who Hooked Up Renee with a Job Before |
Although Roger Ebert disliked
Lost Highway as an overall film, he was partial to this scene in particular and felt it was done with a masterful Hitchockian sense of style. In fact, Ebert enjoyed many aspects of the film, but he felt the ending of the film failed to mesh all the story threads together properly and left the film feeling too much like random short stories stitched together. This statement echoes our own sentiments about
Wild at Heart (1990), so it appears Barry Gifford's influence on Lynch naturally tends to lean in that direction. Ebert suggests this discordant flow tends to jerk around the audience a little too much.
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Robert Blake in a Chilling Performance as the Mystery Man |
The Mystery Man
Roger Ebert: "... a scene Alfred Hitchcock would be proud of."
Who is the Mystery Man? Is he real? Is he a figment of Fred's imagination? A psychological representation of his own anger and jealousy about his wife's possible affair? Could he be a dark entity on the order of Bob and the other Lodge entities from
Twin Peaks? A dark sorcerer? Or is he another personality of Fred trying manifest itself? At the end of the day, we receive no definitive answers from David Lynch, and in fact, not knowing who he is really is the point of the character. Humans tend to fear the unknown, not the explanations. All we know for sure is that he is a dark figure of supernatural power from Fred's point of view, baiting Fred to take a destructive path.
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Fred Thinks Someone Else Might Be in the House But Finds No One Besides Them |
In a strangely surreal scene we will not spoil for you here, Fred becomes lost in a dark haze and wakes from his strange state being beaten by a police officer who he had been speaking to earlier in the film. Fred's wife Renee has been brutally murdered and the police obviously suspect Fred is the culprit.
Then David Lynch makes an interesting cut from the interrogation scene to Fred being escorted to a cell on death row. The entire murder trial is handled with a quick death penalty sentence being pronounced by a judge in voice over. This opens the door to several possibilities. Did the police really arrest Fred at all? Did Fred actually have a trial and found guilty? Was Fred actually sent to prison to be executed on death row? Is Fred possibly imagining this justice?
According to the British website ArtMovements:"Expressionism is an artistic style in which the artist attempts to depict not objective reality but rather the subjective emotions and responses that objects and events arouse in him. He accomplishes his aim through distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements.
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Unlike Impressionism, [expressionism's] goals were not to reproduce the impression suggested by the surrounding world, but to strongly impose the artist's own sensibility to the world's representation. The expressionist artist substitutes to the visual object reality his own image of this object, which he feels as an accurate representation of its real meaning."
David Lynch creates a surprisingly sophisticated expressionistic film in
Lost Highway (1997), and is clearly his most expressionistic film since
Eraserhead (1976). As suggested by Fred's spoken distaste for the cold objectivity provided by video cameras, film images are also frequently used to convey a hyper accurate view of objective reality. But Lynch has always looked at film production as an extension of painting, which is by nature a more subjective and expressionistic form.
Lost Highway seems to represent the subjective reality of a murderer who has gone insane, as if he were painting the tapestry of reality to match his own emotions. So Lynch was correct when he explained we are not entering a dream state, but a compromised reality perceived through the prism of Fred's fractured sense of reality.
One of Lost Highway's producers, Deepak Nayar, commented in the documentary
Pretty as a Picture: The Art of David Lynch (1997): "
The death row prison. Now here's a prime example of how the director and the production designer work. When we scouted that place it was a fire station building. And you walk into that place and say to yourself, 'Somebody's lost their mind.' They want to shoot a death row prison at THIS place? I mean, we all have our own imagination of what death row should look like... Then they build the sets and you arrive for the very first day of shooting and it's phenomenal. It looks beautiful. It's death row and yet it's not a death row. It's a David Lynch death row, which is what he wanted."
David Lynch remarked "
To give a sense of place, to me, is a thrilling thing. And a sense of place is made up of details. And so the details are incredibly important. If they're wrong, then it throws you out of the mood. And so the sound and music and color and shape and texture, if all those things are correct and a woman looks a certain way with a certain kind of light and says the right word, you're gone, you're in heaven. But it's all the little details" (link to source).
The prison is strange and different from what we normally see. Is Fred Madison the only prisoner here or is he kept in isolation from the general prison population? Is this a prison of Fred's own mental construction? All we know for sure is that Fred is stuck in this prison until he turns into someone else. Call it guilt, denial, or anything you will, but this is a lonely man trapped and looking for a way out.
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Fred Suffers a Crippling Headache, So He is Brought to the Prison Doctor |
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The Prison Doctor Does Not Explain Anything, Simply Force Feeds Fred Some Pills |
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Afterward Fred is Brought Back to His Cell, Where He Requests an Aspirin
to Help Him Deal with a Pounding Headache |
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In the Tradition of Rocker Performances in Lynch's Past Films, Like Sting in Dune (1984), David Bowie and Chris Isaak in Fire Walk with Me (1992), Henry Rollins of the Rollins Band Cameos as an Unsympathetic Prison Guard |
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Fred Cries Out in Agony as His Mind and Body Transform in the Tradition of Werewolf Movies |
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He Looks Up and Travels Across the Lost Highway Where He Encounters Pete Dayton |
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Pete Dayton's Girlfriend and Family Members Later Hint at Knowing Something About this Incident |
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But Pete Does Not Understand It |
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After Fred Madison Meets Pete Dayton Along the Lost Highway... |
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Fred Apparently Turns into Pete |
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The Next Morning a Guard Performs a Cell Check to Make Sure Everyone is Where They Should Be |
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But the Guard Cannot Believe What He Sees in Fred Madison's Cell |
PETE DAYTON
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Fred Madison Becomes an Entirely Different Person
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Again, David Lynch is apparently showing us Fred Madison's perceptions. To Fred, his transformation is literal. In real life, a sufferer of a psychogenic fugue would not look drastically different after switching identities. However, Fred does not like to remember things as they happened, but as he chooses to remember them. To him, his entire reality changes. Even his flesh changes. He is a new, innocent man who should not be held responsible for the crimes of this stranger named Fred Madison.
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Pete Dayton is Taken Home from Prison by His Parents and He Returns to His Normal Life as an Auto Mechanic |
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Robert Loggia Plays the Underworld Mob Boss "Mr. Eddy" Who Values Pete's Instincts for Car Maintenance |
Except for a brief coda at the end, the remainder of the film takes place without Bill Pullman's Fred Madison, centering instead around his alter ego Pete Dayton played by Balthazar Getty. If for no other reason than this one stylistic choice,
Lost Highway would be considered a strange, unique film. Yet, the oddities only begin there. As we switch our focus to Pete Dayton, the film also switches gears and transforms from a psychological thriller into a film noir. This shift in tone and themes is unsettling and strange to accept at first, but there is something rather playful about the shift, too, in a bizarrely Lynchian way.
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We Transition from the White Side to the Blue Side
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Mr. Eddy Hates Tailgating
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Be Careful Not to Tailgate... It's Dangerous |
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Lost Highway's Alice Wakefield is Similar to Twin Peaks' Evelyn Marsh |
Strangely enough, this half of the film closely resembles an unsuccessful subplot in
Twin Peaks revolving around James Hurley's motorcycle odyssey to a neighboring town. James is solicited by a wealthy woman named Evelyn Marsh to work as her private mechanic. Over time James notices Evelyn is bruised and he is told lies about how her husband abuses her. In attempting to help Evelyn, James is pulled into her web of deception and was nearly framed for her husband's eventual murder. Although the last half of
Lost Highway has many surface differences with the
Twin Peaks subplot, the core storyline is practically identical.
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Evelyn Marsh, the Most Random Femme Fatale of the Small Screen |
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We Should Point Out that James is Working as a Mechanic in His Sweater |
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Pictured: The Worst Twin Peaks Subplot Ever |
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Sorry, We Meant Second Worst |
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Yeah, that Random Film Noir Adventure Definitely Takes Second Place to Ben's Nervous Breakdown.
If You Cannot Tell, Bobby Briggs is in the Upper-Right Corner Blowing a Bugle |
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Ben Horne's Nervous Breakdown Transforming Him into a Civil War General was Actually Worse,
But at Least We Got to See Audrey Horne in a Classic Dress for that Excursion into Crazy. |
Although the James Hurley and Evelyn Marsh subplot did not mesh with the grand scheme of
Twin Peaks, this same storyline does feel more organic in the world of
Lost Highway (1997). We partly accredit this to David Lynch's direction, since he did not direct any of the episodes connected to the James Hurley mechanic subplot, or Ben Horne's Civil War breakdown, for that matter. If anything reveals the depths of Lynch's superior skills as a director, then this would be a prime example.
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Fred Madison Becomes Pete Dayton, Auto Mechanic and All-Around Ladies' Man |
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Renee Madison Becomes Alice Wakefield, a Beautiful Victim or a Femme Fatale? You Decide... |
That Magic Moment
Just wanted to post that I've been thoroughly enjoying your 35 Years of David Lynch retrospective. I'm a Lynch fanatic and have been for many, many years now.
ReplyDeleteMy least favorite films of his would have to be Dune and Wild At Heart. I like bits and pieces of those films but as a whole, they don't connect with me as all of his other films do. My favorites would have to be Mulholland Dr., the Twin Peaks saga (including Fire Walk With Me), Eraserhead, and Lost Highway.
Have you seen the Lynch-produced film directed by Werner Herzog: My Son, My Son, What Have Ye Done? I rather enjoyed it and even though Herzog says there is zero creative input from Lynch in the film, his presence is undeniable. Brad Dourif and Grace Zabriskie. A little person in a suit who shows up inexplicably. There's even a character in the film who appears to be very much into meditation.
Anyway, keep up the great work! You're almost finished now. (I look forward to reading your INLAND EMPIRE report. That movie is a beast!)
I love the scene where Alicia reveals to Pete that he never had her while both making love!
ReplyDeleteLong time reader, first time commenter.
ReplyDeleteI love this blog. I really like your take on Lynch's works. I think that Lynch's movies are so much more about mood/tone and evoking an emotional experience than they are about plot, but I have to applaud you for being able to verbalize aspects of his work that I have found myself unable to. Also, your research has been fantastic.
I had to comment this time because the aside to the bad 'Twin Peaks' subplots made me laugh out loud.
Great work.
Lost Highway (LH) is right up there with Mulholland Drive (MD) imo....I absolutely love this 'film noir' of a movie.
ReplyDeleteObviously with Lynch films...there is always your own personal take and meaning to be garnered and explored...and one that doesn't allow 100% knowability...which is the main part of the fun.
Lynch is a lot like Dennis Potter in this regard...he wants all mystery and no solutions, just like Dennis...I mean, there is no fun or very little to learn in the solutions, only the mystery!
Still that doesn't stop us trying. :-)
Structurally imo...it could even be more perfect than Mulholland Drive. I find there to be many, many similarities with Mulholland Drive....it needs to be deconstructed and re-ordered mentally for it to make any kind of sense.....and it does (make sense)!!!
I'm not even sure if any of the film takes place in any linear reality at all (save a few minutes here or there)...or whether we're dealing with 'psychogenic fugue' and 'fuzzy underpressure denial based recollection' (see Fred's nose punch LH...as the Diane pillow moment MD).
I'm toying with the idea that the brief opening sequence is the morning after Fred has murdered Alice...and then we get the Dick Laurent message. The one he is really delivering to himself!
We then open with the scene about Fred going to the club minus Alice....I feel from this point we are actually experiencing the 'denial based recollections' of Fred as told to the police officers...who have obviously been questioning him for quite sometime...judging by their relaxed state of dress etc. (we get the i don't like video cameras hint and are reminded that he likes to remember things as he remembers them etc) This runs for about 35 mins or so and then we get the nose punch and 'sit down wife killer' met with the response from Fred 'tell me I didn't kill my wife' (denial).
Then we get the prison sequence (possibly reality here) and then to the 'fugue' and into the persona of Pete...we see Pete's fantasy world get wobbly at various intervals in this sequence....as the real world and events try to get a foothold and return him to Fred..which is who he really is.
Pete's world seems to really lose it...when he sees the porno image at Andy's. Reality is trying to break in etc.
I get a totally different feeling watching this, than say compared to Wild At Heart...also Gifford....they are just streets apart and in so many ways.
Lost Highway as a metaphor for the 'path of life'...Fred is lost on the path of life and is deranged! (to quote Bowie)
Just the sound design alone for this movie...blows me away....definite shades of Eraserhead.
This is really interesting reading, I have always been a big fan of David Lynch. I own all of his movies on DVD and Lost Highway is one of my favorites!
ReplyDeleteI really like your analyze of the movie!