The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
Lula's psychopathic mother goes crazy at the thought of Lula being with Sailor, who just got free from jail. Ignoring Sailor's probation, they set out for California. However their mother hires a killer to hunt down Sailor. Unaware of this, the two enjoy their journey and themselves being together... until they witness a young woman dying after a car accident - a bad omen. Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
Not counting Twin Peaks, this is the only one of David Lynch's films to have a sequel - 1997's Perdita Durango, directed by Álex De la Iglesia and starring Rosie Perez as the titular anti-heroine, originally played by Isabella Rossellini. See more »
When the policeman approaches Perdita who's waiting in the car, a shadow from either crew or equipment can be seen briefly on his hat. See more »
Did I ever tell ya that this here jacket represents a symbol of my individuality, and my belief in personal freedom?
About fifty thousand times.
See more »
The ending credits play over footage of Sailor singing "Love Me Tender" to Lula, rather than a black screen. See more »
Wild at Heart is not without superb elements, but overall, it's a disappointment. Lynch did what has been deadly to so many talented filmmakers - he bought into his own reputation. Wild at Heart is highly self-aware, furiously cranking up the Lynchian stylistic quirks with little awareness of the delicate balance that made former Lynch films great. Blue Velvet did descend into surreal, dark chaos, but it contrasted the depraved weirdness with common decency and compassion. Wild at Heart, on the other hand, is just a heady stew of violence, sex and bizarre happenings - very little here is recognizable as human behavior, and just about nothing as human goodness. If Blue Velvet was guilty of being a little too turned on by its own darkness, Wild at Heart is downright proud of presenting evil in a lurid, gleeful manner.
Nevertheless, if all you want from Lynch movies is memorable surrealism, wacky characters and delirious energy, Wild at Heart still offers plenty to savor. Parts of Wild at Heart do possess a mad energy and offbeat humor that is infectious. The performances are also highly entertaining - Nicolas Cage has rarely been better, and Dianne Ladd is hysterically funny in an utterly unhinged performance. But the madness of Wild at Heart all starts to seem too calculated, too soulless, and too ugly. The weirdness of Blue Velvet and Eraserhead almost always seemed organic, like a natural outgrowth of the film - Wild at Heart seems awkwardly scrambled together. Wild at Heart contains flashes of true Lynchian brilliance and a game cast, but they are lost in a nauseating, patchy, sub-par work.
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