A brilliant surgeon, Dr. Génessier, helped by his assistant Louise, kidnaps nice young women. He removes their faces and tries to graft them onto the head on his beloved daughter Christiane... See full summary »
Fred Madison, a saxophonist, is accused under mysterious circumstances of murdering his wife Renee. On death row, he inexplicably morphs into a young man named Pete Dayton, leading a completely different life. When Pete is released, his and Fred's paths begin to cross in a surreal, suspenseful web of intrigue, orchestrated by a shady gangster boss named Dick Laurent. Written by
According to the script for this film, the scene with Mr. Eddy and the tailgater takes place on Mulholland Drive. David Lynch would go on to direct a film of the same name (Mulholland Drive), which also has a motor accident take place in the same spot. See more »
Call Me. Dial your number. Go ahead.
[Fred dials the number and the Mystery Man answers]
[over the phone]
I told you I was here.
How'd you do that?
[Fred's facial expression turns from amused to serious as he's clearly rembering the anonymous video tapes]
[angrily into the phone]
How did you get inside my house?
You invited me. It is not my custom to go where I am not wanted.
[into the phone]
Who are you?
[Both Mystery Men laugh mechanically]
[...] See more »
Written by David Bowie and Brian Eno
Courtesy of Tintoretto Music (BMI) and Upala Music (BMI)
Performed by David Bowie
Courtesy of Jones Music and Virgin Records America, Inc. See more »
Lighting. That's the thing I remembered most from the first time I saw this film. Amazing lighting. Certain directors, Lynch included, are able to tell the story using camera movement, what's seen/not seen. Lynch, however, has taken that a step further with the way he chooses to light his scenes - he sculpts his shots in a manner that seems almost more like a theatrical lighting designer's work. The use of shadows within the home, the stark colors that accompany certain scenes, even the car lighting in the titles - all of this is used to draw the audience's attention to a certain point, and all of it thrills. With the terse, "European art-film" dialogue style (at first the most distancing thing I found in Lynch's work, it is now one of my favorite elements), sharp sound work, a strong cast, and the marvelous, spiralling structure of the film only reinforcing it's strongest feature - its atmosphere - this is a work that will be discussed long after the credits fade. In my short 22 years, the best film I've seen, bar none.
80 of 119 people found this review helpful.
Was this review helpful to you?