CINEMA: Return of the Lynch mob

Ever since `Twin Peaks', David Lynch's career has foundered. Dennis Lim asks if his new film marks a return to form

If a film-maker is only as good as his last film, then for the past five years David Lynch has been in pretty bad shape. Fire Walk With Me, the movie prequel to his Twin Peaks TV series, was unveiled at Cannes in 1992 to all but unanimous scorn. The backlash against this "genius naif" (as Pauline Kael called him) was so resounding that Lynch's new film, Lost Highway - which opened last Friday in the States - is being seen by some as his final shot at critical rehabilitation. Yet the film itself is marked, not by trepidation, but a giddying, liberating sense of irresponsibility. Kinky, sensuous, disturbing and untroubled by earthly logic, Lost Highway leaves the viewer baffled and seduced in equal measure. This is not the work of a director playing safe.

Lynch, who trained to be a painter, is one of cinema's great expressionists: an expert in finding the exact visual and aural textures for sinister, barely communicable moods and sensations. This talent has never been more apparent than in the first half of Lost Highway: virtually wordless and peculiarly electrifying, it exists in a vacuum of dread. Fred (Bill Pullman) and Renee (Patricia Arquette), the main characters, live in a sparse, shadowy house in what is probably Los Angeles. Paranoia and malaise plague the couple; the source of their problems, it is implied, is a malevolent dwarf (Robert Blake), a conflation of Dennis Hopper's Frank Booth in Blue Velvet and Twin Peaks's evil Bob.

Fred eventually kills Renee (or does he?) and is consigned to Death Row, where, one night, he metamorphoses into a teenager called Pete (Balthazar Getty). After he is released, Pete begins a relationship with Alice, a gangster's moll and porn starlet, also played by Arquette. So Alice, who looks like Renee, is sleeping with Pete, who - osten- sibly - used to be Fred. The film becomes a tangle of alter-egos; a tangle which Lynch and his co-writer Barry Gifford resolve not by picking apart the threads, but by pulling the knots tighter. The story ends by folding in on itself, its energies compacted into a heart- stopping (and literal) implosion.

It will be a disgrace if a work of art this vital, fearless and intuitively brilliant fails to find an audience. But an obvious commercial difficulty is one of definition: part murder-mystery, part noir pastiche, part existential horror-flick, the film can either be seen as a study in psychosexual pathology, or as a tale of an acute identity crisis.

Lynch has always been difficult to pin down. More than most of the independent film-makers who came after him, he has displayed at various points in his career both a refusal and an inability to cater to anyone's desires but his own. His first feature, Eraserhead, made over five years on hardly any money, was released in 1977 and initially shunned (Variety called it a "sickening, bad-taste exercise"). Set in an industrial wasteland populated by tragic grotesques (a bouffant-haired Kafkaesque hero, a pustulent monster-baby, a puffy-cheeked woman who lives in a radiator) the film was a true original, and success on the midnight-movie circuit spawned a cult around it. In 1981 Lynch directed The Elephant Man, with John Hurt as the disfigured John Merrick. Fusing the spectral quality of Eraserhead with the grace and humanity required by the storyline, Lynch made what remains his most straightforward (and sentimental) film. Seven Oscar nominations later, he was suddenly a serious Hollywood player. It didn't last long.

George Lucas asked him to direct Return of the Jedi, but he opted instead to film Frank Herbert's sci-fi novel Dune (1984), under the auspices of Dino De Laurentis. Herbert's scrambled plot and mus-ty prose proved problematic, and the finished product - further mangled by studio cuts - was incoherent and often nondescript, a muddle of mismatched sensibilities. Lynch's next move was to retreat to small-town America - a move that paid off. Steeped in the horrors of the familiar, Blue Velvet (1986) rattled audiences as few films have done. Reinventing its karaoke-bland, Bobby Vinton title- song as a macabre signifier of suburban rot, it was a dark coming-of-age movie, with Kyle MacLachlan's character learning scary things about his picket-fenced community - and scarier things about himself. A generation of upstarts was duly inspired: the lip-synching and ear-slicing scenes in, respectively, My Own Private Idaho and Reservoir Dogs are explicit homages.

With Twin Peaks, Lynch invited the TV masses into Sleepytown, USA; within weeks, they were hooked, obsessing over who had killed homecoming queen Laura Palmer. The series lasted two seasons, growing increasingly compromised and lazy, but always still yielding small, subversive pleasures not normally associated with US network TV.

By this time, the word "Lynchian" was being widely used as a catchphrase for all things creepily surreal, creepily ironic or creepily banal. Yet it wasn't only his imitators, but also Lynch himself who diluted the connotations of the term. In 1990's Wild at Heart, a funny, gory road-movie with Nicolas Cage and Laura Dern (and a controversial winner of the Palme d'Or), the weirdness was, of course, Lynchian - but it also seemed routine and somewhat disingenuous. So the critics were itching to attack - and then, with Fire Walk With Me, Lynch gave them all the ammunition they needed. Unintelligible, cynical and borderline-inept was the consensus. Unusually for this director, even some of the performances were flat-out awful - but there were also haunting, lyric passages, and more than a few moments of lucidity.

Lost Highway is undoubtedly a return to form, and the kick in the rear that American movies have needed for some time. The spooky supernaturalism of Twin Peaks remains, but it is rendered here with a force and clarity worthy of Blue Velvet. This could be crunch time for Lynch, but it's doubtful that he is terribly concerned. Regardless of what the film world thinks, David Lynch does what he wants to; and regardless of what he does, the film world needs him more than he needs it.

! `Lost Highway' opens in Britain later this year.

Arts and Entertainment Musical by Damon Albarn


Arts and Entertainment

Film review

Arts and Entertainment
Innocent victim: Oli, a 13-year-old from Cornwall, featured in ‘Kids in Crisis?’
TV review
Northern exposure: social housing in Edinburgh, where Hassiba now works in a takeaway
books An Algerian scientist adjusts to life working in a kebab shop
Arts and Entertainment
Terminator Genisys: Arnie remains doggedly true to his word as the man who said 'I'll be back', returning once more to protect Sarah Connor in a new instalment


film review
Arts and Entertainment

Arts and Entertainment

Final Top Gear review

Have you tried new the Independent Digital Edition apps?
Arts and Entertainment

ebooksNow available in paperback
Arts and Entertainment

Arts and Entertainment

Arts and Entertainment
Pete Doherty and Carl Barat perform at Glastonbury 2015

Arts and Entertainment
Lionel Richie performs live on the Pyramid stage during the third day of Glastonbury Festival

Arts and Entertainment
Buying a stairway to Hubbard: the Scientology centre in Los Angeles
film review Chilling inside views on a secretive church
Arts and Entertainment
Jason Williamson, left, and Andrew Fearn of Sleaford Mods
musicYou are nobody in public life until you have been soundly insulted by Sleaford Mods
Arts and Entertainment
Natalie Dew (Jess) in Bend It Like Beckham The Musical
theatreReview: Bend It Like Beckham hits back of the net on opening night
Arts and Entertainment
The young sea-faring Charles Darwin – seen here in an 1809 portrait – is to be portrayed as an Indiana Jones-style adventurer
Latest stories from i100
Have you tried new the Independent Digital Edition apps?

ES Rentals

    Independent Dating

    By clicking 'Search' you
    are agreeing to our
    Terms of Use.

    Greece debt crisis: What happened to democracy when it’s a case of 'Vote Yes or else'?

    'The economic collapse has happened. What is at risk now is democracy...'

    If it doesn’t work in Europe, how is it supposed to work in India or the Middle East, asks Robert Fisk
    The science of swearing: What lies behind the use of four-letter words?

    The science of swearing

    What lies behind the use of four-letter words?
    The Real Stories of Migrant Britain: Clive fled from Zimbabwe - now it won't have him back

    The Real Stories of Migrant Britain

    Clive fled from Zimbabwe - now it won’t have him back
    Africa on the menu: Three foodie friends want to popularise dishes from the continent

    Africa on the menu

    Three foodie friends want to popularise dishes from the hot new continent
    Donna Karan is stepping down after 30 years - so who will fill the DKNY creator's boots?

    Who will fill Donna Karan's boots?

    The designer is stepping down as Chief Designer of DKNY after 30 years. Alexander Fury looks back at the career of 'America's Chanel'
    10 best statement lightbulbs

    10 best statement lightbulbs

    Dare to bare with some out-of-the-ordinary illumination
    Wimbledon 2015: Heather Watson - 'I had Serena's poster on my wall – now I'm playing her'

    Heather Watson: 'I had Serena's poster on my wall – now I'm playing her'

    Briton pumped up for dream meeting with world No 1
    Wimbledon 2015: Nick Bollettieri - It's time for big John Isner to produce the goods to go with his thumping serve

    Nick Bollettieri's Wimbledon Files

    It's time for big John Isner to produce the goods to go with his thumping serve
    Dustin Brown: Who is the tennis player who knocked Rafael Nadal out of Wimbeldon 2015?

    Dustin Brown

    Who is the German player that knocked Nadal out of Wimbeldon 2015?
    Ashes 2015: Damien Martyn - 'England are fired up again, just like in 2005...'

    Damien Martyn: 'England are fired up again, just like in 2005...'

    Australian veteran of that Ashes series, believes the hosts' may become unstoppable if they win the first Test
    Tour de France 2015: Twins Simon and Adam Yates have a mountain to climb during Tour of duty

    Twins have a mountain to climb during Tour of duty

    Yates brothers will target the steepest sections in bid to win a stage in France
    John Palmer: 'Goldfinger' of British crime was murdered, say police

    Murder of the Brink’s-MAT mastermind

    'Goldfinger' of British crime's life ended in a blaze of bullets, say police
    Forget little green men - aliens will look like humans, says Cambridge University evolution expert

    Forget little green men

    Leading evolutionary biologist says aliens will look like humans
    The Real Stories of Migrant Britain: An Algerian scientist adjusts to life working in a kebab shop

    The Real Stories of Migrant Britain

    An Algerian scientist struggles to adjust to her new life working in a Scottish kebab shop
    Bodyworlds museum: Dr Gunther von Hagens has battled legal threats, Parkinson's disease, and the threat of bankruptcy

    Dying dream of Doctor Death

    Dr Gunther von Hagens has battled legal threats, Parkinson's disease, and the threat of bankruptcy