Skip to main content

_

Notes from Underground

  And, indeed, I will ask on my own account here, an idle question: which is better—cheap happiness or exalted sufferings? Well, which is better?---Fyodor Dostoevsky ---Notes from Underground Fyodor Dostoevsky ---Notes from Underground Even now, so many years later, all this is somehow a very evil memory. I have many evil memories now, but ... hadn’t I better end my “Notes” here? I believe I made a mistake in beginning to write them, anyway I have felt ashamed all the time I’ve been writing this story; so it’s hardly literature so much as a corrective punishment.  Why, to tell long stories, showing how I have spoiled my life through morally rotting in my corner, through lack of fitting environment, through divorce from real life, and rankling spite in my underground world, would certainly not be interesting; a novel needs a hero, and all the traits for an anti-hero are expressly gathered together here, and what matters most, it all produces an unpleasant impression, for we are...
Read more

Hope

To be human is to be a miracle of evolution conscious of its own miraculousness — a consciousness beautiful and bittersweet, for we have paid for it with a parallel awareness not only of our fundamental improbability but of our staggering fragility, of how physiologically precarious our survival is and how psychologically vulnerable our sanity. To make that awareness bearable, we have evolved a singular faculty that might just be the crowning miracle of our consciousness: hope.-- Erich Fromm


Labels

Wild at Heart (1990)

 



It was booed at Cannes and received lukewarm reviews but there remains something compelling about its lurid extremities

Thirty years ago, Wild at Heart arrived in theaters after winning the Palme D’Or at the Cannes Film Festival, where it was greeted, according to the critic Dave Kehr, with “the most violent chorus of boos and hisses to be heard in a decade”. Such a reception at Cannes can often be a badge of honor – L’Avventura and Taxi Driver also got an earful – and Lynch would get booed again when he premiered Twin Peaks: Fire Walk with Me at the festival two years later. But Wild at Heart opening to polarized reviews and middling box office, and its reputation over the years hasn’t improved as much as Fire Walk with Me or Lost Highway, which both seemed ahead of their audience at the time. While other Lynch films have been treated to Criterion editions and repertory play, it was hard to find on DVD in the US for years and it’s still not available to stream anywhere. This was not the expected fate for a Palme-winner from one of the greatest film-makers.

And yet, it’s not impossible to understand why it’s slipped through the cracks a little. Wild at Heart is a film of extreme violence and ugliness, and it’s far more conceptually loaded than it needs to be, with a complicated thicket of murderous lowlifes and Wizard of Oz references that are sometimes clumsily grafted on to the action and the dialogue. Coming after a tightly constructed noir like Blue Velvet, the film feels deliberately unruly, loaded with discursive flashbacks and soap opera twists, and moments of glib provocation, as if Lynch were aiming to repulse people as a lark. John Waters once said, “If someone vomits watching one of my films, it’s like getting a standing ovation.” Perhaps that’s what those Cannes boos felt like for Lynch.





But the chaos that surrounds Sailor and Lula – “Well, we’re really out in the middle of it now, ain’t we?” she declares – has the effect of heightening their relationship, much like the pop of three-strip Technicolor when Dorothy emerges into Munchkinland. For all the scenes of them grinding away in seedy motel rooms, and for all the past traumas and injustices they can never escape, Lynch sees Sailor and Lula as innocents, so pure in their love that they would make the robin tweet in Blue Velvet. When Sailor serenades Lula with Elvis tunes, it’s easy to get hung up on Nicolas Cage’s kitschy impersonation of The King or the piped-in screams of young women from an old live recording. But Lynch is utterly sincere about Sailor and Lula, and optimistic that they can overcome the evil forces that are aligned against them.

The key to Wild at Heart is Laura Dern’s performance as Lula, who craves freedom from a pathological mother (Diane Ladd, Dern’s real mom) and from a childhood shaped by sexual assault and the death of her father under dubious circumstances. She clings to the most flawed imaginable vessel in Sailor, who’d be the type to stumble into prison stints under the best of circumstances, but who also happens to have witnessed the fire that killed her father. As she and Sailor dodge the bloodhounds and assassins her mother sends after them – Harry Dean Stanton, JE Freeman, Grace Zabriskie, Isabella Rossellini and David Patrick Kelly are only a partial list of their pursuers – Lula insists on finding some place where they can be happy together. Maybe it’s a dancefloor, maybe it’s cigarettes on a motel bed, maybe it’s a sunset on the side of the road – she will eke out pleasure in the moment, even if they have no future together.



    1. Poor Things scored 8.4 out of 10 on IMDb.
      Poor Things scored 93 percent on Rotten Tomatoes.

    1. Release date: August 17, 1990 (USA)
      Director: David Lynch
      Starring: Nicolas Cage; Laura Dern; Willem Dafoe; Crispin Glover; Diane Ladd; Isabella Rossellini; Harry Dean Stanton
      Distributed by: Universal Pictures, Metro-Goldwyn-Mayer · See more
      Adapted from: Wild at Heart
      Budget: $10 million






    5. Willem Dafoe Discussing David Lynch Wild At Heart Character Bobby Peru

    7. Wild At Heart (1990) - Clip: Wicked Games

    2. Siskel & Ebert Review Wild At Heart (1990)















Style and Visual Language

      • The "Lynchian" Lens: Cinematographer Frederick Elmes (who also shot Eraserhead and Blue Velvet) uses saturated reds and deep blacks to create a dream-like, nightmarish Americana.

      • Extreme Close-ups: Lynch utilizes macro-photography of mundane objects—lighting a cigarette, a lipstick-smeared face—to create a sense of heightened, almost tactile reality.

      • Grotesque Realism: The film is famous for its "ugliness," featuring characters with physical deformities or unsettling habits, pushing the boundaries of the "Southern Gothic" genre.







      • Angelo Badalamenti: The score provides the atmospheric "glue," moving from romantic strings to industrial drones.

      • Heavy Metal vs. Jazz: The inclusion of Powermad’s "Slaughterhouse" during the opening fight scene established a new level of aggression in Lynch's work, contrasted with the smooth jazz of "Lullaby" and Chris Isaak's "Wicked Game" (which became a hit largely due to its use in this film).























The Controversial Ending

    1. Unlike the Barry Gifford novel, which ends with Sailor and Lula parting ways, Lynch chose a "happily ever after" ending. After a vision of the Good Witch, Sailor realizes that his "individuality and personal freedom" are meaningless without Lula. He runs across the tops of cars in a traffic jam to reunite with her and sing "Love Me Tender." This departure from the source material was criticized by some as being too sentimental, but Lynch defended it as necessary for the "fairy tale" logic of the film.







    7. "This whole world's wild at heart and weird on top." — Lula

      "This is a snakeskin jacket! And for me, it's a symbol of my individuality and my belief in personal freedom." — Sailor





Labels:

Popular Posts