| Photos (See all 69 | slideshow) | Videos (see all 23) |
| Isabella Rossellini | ... | Dorothy Vallens | |
| Kyle MacLachlan | ... | Jeffrey Beaumont | |
| Dennis Hopper | ... | Frank Booth | |
| Laura Dern | ... | Sandy Williams | |
| Hope Lange | ... | Mrs. Williams | |
| Dean Stockwell | ... | Ben | |
| George Dickerson | ... | Detective John Williams | |
| Priscilla Pointer | ... | Mrs. Beaumont | |
| Frances Bay | ... | Aunt Barbara | |
| Jack Harvey | ... | Tom Beaumont | |
| Ken Stovitz | ... | Mike | |
| Brad Dourif | ... | Raymond | |
| Jack Nance | ... | Paul | |
| J. Michael Hunter | ... | Hunter | |
| Dick Green | ... | Don Vallens | |
| Fred Pickler | ... | Yellow Man | |
| Philip Markert | ... | Dr. Gynde | |
| Leonard Watkins | ... | Double Ed | |
| Moses Gibson | ... | Double Ed | |
| Selden Smith | ... | Nurse Cindy | |
| Peter Carew | ... | Coroner | |
| Jon Jon Snipes | ... | Little Donny | |
| Angelo Badalamenti | ... | Piano Player (as Andy Badale) | |
| Jean Pierre Viale | ... | Master of Ceremonies | |
| Donald Moore | ... | Desk Sergeant | |
| A. Michelle Depland | ... | Party Girl | |
| Michelle Sasser | ... | Party Girl | |
| Katie Reid | ... | Party Girl | |
| Sparky | ... | The Dog | |
| rest of cast listed alphabetically: | |||
| Robert J. Maxwell | ... | Slow Club Customer (uncredited) | |
Directed by | |||
| David Lynch | |||
Writing credits | ||
| David Lynch | (screenplay) | |
Produced by | |||
| Fred C. Caruso | .... | producer (as Fred Caruso) | |
| Richard A. Roth | .... | executive producer (as Richard A. Roth) | |
| Dino De Laurentiis | .... | executive producer (uncredited) | |
Original Music by | |||
| Angelo Badalamenti | |||
Cinematography by | |||
| Frederick Elmes | (director of photography) | ||
Film Editing by | |||
| Duwayne Dunham | |||
Casting by | |||
| Pat Golden | |||
| Johanna Ray | |||
Production Design by | |||
| Patricia Norris | |||
Set Decoration by | |||
| Edward 'Tantar' LeViseur | |||
Makeup Department | |||
| Jeff Goodwin | .... | makeup supervisor | |
| Dean Jones | .... | special effects makeup | |
| Barbara Page | .... | assistant makeup artist | |
| Barbara Page | .... | hair stylist | |
| Dean Gates | .... | special makeup effects artist (uncredited) | |
Production Management | |||
| Fred C. Caruso | .... | production manager (as Fred Caruso) | |
| Gail Kearns | .... | production supervisor (as Gail M. Kearns) | |
Second Unit Director or Assistant Director | |||
| Ellen Rauch | .... | first assistant director | |
| Ian Woolf | .... | second assistant director | |
Art Department | |||
| Michel Anderson | .... | props-set dresser | |
| Shaw Burney | .... | set prop man | |
| Catherine Davis | .... | art department assistant | |
| Vernon Harrell | .... | props-set dresser | |
| Edward 'Tantar' LeViseur | .... | property master (as Tantar Leviseur) | |
| Tanya Lowe | .... | scenic artist | |
| Loren McNamara | .... | props-set dresser (as Loren Mcnamara) | |
| Les Pendleton | .... | construction coordinator (as Les Pendelton) | |
| Paul Sebastian | .... | props-set dresser | |
| Dawn Serody | .... | draftsperson | |
| Robert Testerman | .... | chief scenic artist | |
| Tim Viereck | .... | lead carpenter | |
| Arron Waitz | .... | props set dresser | |
| Doug White | .... | props-set dresser | |
| Keith Darwin | .... | scenic (uncredited) | |
| Mark S. Turner | .... | stand-by painter (uncredited) | |
| Harley Whitehurst | .... | painter (uncredited) | |
Sound Department | |||
| Alan Abrams | .... | assistant sound editor | |
| Mark Berger | .... | re-recording mixer | |
| Karen Brocco | .... | assistant sound editor | |
| Frank E. Eulner | .... | sound recordist (as Frank Eulner) | |
| Rob Fruchtman | .... | sound editor | |
| Vivien Hillgrove Gilliam | .... | dialogue editor (as Vivien Gilliam) | |
| Sarah Goldsmith | .... | assistant sound editor (as Sarah Rothenberg) | |
| Richard Hymns | .... | sound effects editor | |
| Pat Jackson | .... | sound editor | |
| Ann Kroeber | .... | sound mixer | |
| Patrick Moriarty | .... | boom operator | |
| John Morris | .... | assistant sound editor | |
| John Nutt | .... | dialogue editor | |
| David Parker | .... | sound re-recording mixer | |
| Paige Sartorius | .... | assistant sound editor (as Page Sartorius) | |
| Michael Silvers | .... | dialogue editor | |
| Alan Splet | .... | sound designer | |
| Dennie Thorpe | .... | foley artist | |
| John Verbeck | .... | assistant sound editor | |
| Frank E. Eulner | .... | assistant sound editor (uncredited) | |
| Frank E. Eulner | .... | assistant sound supervisor (uncredited) | |
| Philip Rogers | .... | sound recordist (uncredited) | |
Special Effects by | |||
| George R. Hill | .... | special effects (as George Hill) | |
| Greg Hull | .... | special effects | |
Stunts | |||
| Reginald Barnes Jr. | .... | stunt performer | |
| David Boushey | .... | stunt performer | |
| Robert Burton | .... | stunt performer | |
| Mark Fincannon | .... | stunt performer (as W. Mark Fincannon) | |
| Richard Langdon | .... | stunt coordinator | |
| Sherrie Ann Langdon | .... | stunt performer | |
| John W. McEuen | .... | stunt performer (as John W. Mceuen) | |
| Dean Mumford | .... | stunt performer | |
| Debra Shuckman | .... | stunt performer (as Debra Schuckman) | |
| Ken Sprunt Jr. | .... | stunt performer | |
Casting Department | |||
| Sharon Bialy | .... | casting assistant | |
| Pamela Guest | .... | casting associate (as Pam Rack) | |
| Nina Axelrod | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Gloria Glynn | .... | costume shop supervisor (as Gloria Laughridge) | |
| Ronald Leamon | .... | costumer | |
| Henry Earl Lewis | .... | set wardrobe | |
Editorial Department | |||
| Donah Bassett | .... | negative cutter (as Donnah Bassett) | |
| Brian Berdan | .... | apprentice editor | |
| Tim Craig | .... | apprentice editor | |
| Jonathan P. Shaw | .... | assistant editor (as Jonathan Shaw) | |
| Mary Sweeney | .... | assistant editor | |
| Daniel Frisch | .... | post-production assistant (uncredited) | |
Music Department | |||
| Mark Adler | .... | music editor | |
| Angelo Badalamenti | .... | conductor | |
| Sandina Bailo-Lape | .... | assistant music editor | |
| Todd Boekelheide | .... | music re-recording mixer | |
| David Lynch | .... | composer: additional music | |
Transportation Department | |||
| John Bankson | .... | driver | |
| Doug DuRose | .... | driver (as Doug Du Rose) | |
| Pat Hill | .... | transportation coordinator (as Patricia Hill) | |
| Cynthia Jarose | .... | driver | |
| A. Welch Lambeth | .... | driver (as Welch Lambeth) | |
Other crew | |||
| Morris Atkins | .... | location coordinator | |
| Celia Claire Barnes | .... | production assistant | |
| Frank Behnke | .... | intern associate | |
| Edward Bowen | .... | location assistant (as Edward Bown) | |
| Peter Braatz | .... | intern associate | |
| Mary Bridges | .... | craft service | |
| Patty Clark | .... | production assistant | |
| Kathryn Colbert | .... | production office coordinator | |
| Chrissie Davis | .... | production secretary (as Sarah Christine Davis) | |
| Steve Day | .... | production assistant | |
| Roe Fonvielle | .... | production assistant | |
| Cindy J. Gray | .... | assistant accountant (as Cindy Jo Gray) | |
| Bobby Kearns | .... | production assistant (as Robert Kearns) | |
| Kathi Levine | .... | assistant accountant | |
| Lyn Lucibello | .... | auditor (as Rita M. Lucibello) | |
| Jennifer Chambers Lynch | .... | production assistant (as Jennifer Lynch) | |
| Rena Sternfeld-Allon | .... | script supervisor (as Rina Sternfeld) | |
| John Wentworth | .... | assistant: David Lynch | |
| John Wildermuth | .... | key production assistant | |
| Greg Ferris | .... | marketing canada (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
With Blue Velvet, David Lynch made a film that was so pure to his original vision that it would become the archetype of his work for the next fifteen years. Here, Lynch cast his ever probing, surrealist gaze upon small town middle America, and for the first time in a US film, showed the audience the darker side to what was often depicted as nothing more than the birth place of apple pie. We are drawn into the story almost immediately, with what would seem like a simple depiction of small town life, but the use of slow-motion hints that there is something not quite right with what we are looking at. So by the time Lynch has pushed his camera through the soft green grass of a regular front lawn, only to show us the slithering insects that hide in the darkness, we know that we are about to enter a very dark world.
Blue Velvet is a world filled with not only darkness, but also ambiguity. The characters of this world are constantly hiding behind some kind of façade, be it the wardrobe doors that practicing teenage voyeur Jeffrey peers from behind as he watches Dorothy and Frank interact, or something as simple as the make-up worn by Ben. Everything suggests to us that these characters inhabit a world at night, a world away from the life they live in the day. As the film moves closer and closer to the climax Jeffrey begins to feel more of a connection with Frank, having to go to some very dark places within his psyche. However Lynch's message, that underneath the normal persona of a regular human being is a repressed pervert laying in wait, or whatever point he is making doesn't really translate well. Not least to today's audience.
Blue Velvet is very much a film of its time, that time being the mid-eighties, with aids paranoia everywhere, it's easy to see this metaphor for the dangers of sex and love within the films turgid dreamscapes. But beneath this message hides a strong detective story, a modern day neo-noir that delivers interesting twists and a controversial pay-off with it's almost fairytale climax. This is the film David Lynch got right, proceeding to make great films that where all personal, but completely different in terms of style and substance from one another. Blue Velvet is a great film, with some fine (albeit bizarre) performances, still challenging to this day, If only Lynch hadn't gone on to spend the rest of his career re-making it.