A boat has been destroyed, criminals are dead, and the key to this mystery lies with the only survivor and his twisted, convoluted story beginning with five career crooks in a seemingly random police lineup.
A man returns to his home town after being away and discovers a severed human ear in a field. Not satisfied with the police's pace, he and the police detective's daughter carry out their own investigation. The object of his investigation turns out to be a beautiful and mysterious woman involved with a violent and perversely evil man. Written by
Mark Logan <email@example.com>
During the first time Sandy and Jeffery hear Dorothy sing, the dress she ends with on stage is different than the dress she started with. However, this could simply be the result of a costume change between the sets of her performance. See more »
It's a sunny, woodsy day in Lumberton, so get those chainsaws out. This is the mighty W.O.O.D., the musical voice of Lumberton. At the sound of the falling tree, it's 9:30. There's a whole lotta wood waitin' out there, so let's get goin'.
Mr. Beaumont? Your son Jeffrey's here to see you.
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I've never seen anything quite like this before...
What surprised me was how very different this was from the two other great David Lynch films I'd seen: "Lost Highway" and "The Straight Story", which are in turn very different from one another. I'd been told by a disappointed David Lynch fan, back in 1997, that the only reason I was so deeply impressed with "Lost Highway" was that I hadn't seen "Bue Velvet", in which he does much the same kind of thing better. "Blue Velvet" may indeed be better (I wouldn't want to say), but in no respect is it the same kind of thing. (The only instance I've encountered so far of Lynch making the same film twice is "Lost Highway" being remade as "Mulholland Drive", which partly accounts for the latter film being so stale and uninvolving.)
"Blue Velvet" is a simple amateur sleuthing story, but the genius is in the telling of it. It's hard to avoid the feeling that something supernatural is somehow involved, although it isn't, and we know that it isn't. It looks and feels as though we're watching the world through a special enchanted (or cursed) prism: the image has been pulled apart, ALMOST into two distinct images, with the elements of pure evil and pure wholesomeness now distinct from one another, sitting just millimetres apart.
Unrelated to this, but still contributing to the intense suspense and the overall creepiness, is Lynch's ability to make us familiar with a few ordinary locations, which grow more sinister - or at least more meaningful - every time we see them, until the sight of a simple concrete stairwell in the dark is enough to make us start to panic.
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