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 façade, there is revealed a person of intelligence and sensitivity.
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
Some scenes that were filmed but edited from the final version: More conversation between Fred/Renee and the police officers. A scene where a medical examiner brings two girls to the autopsy of Renee's corpse, and chats with them about the murder, more prison scenes. A scene in which Pete stands in front of his parents, but they are unable to see him. A scene in which Pete cannot be seen by Sheila, his girlfriend. See more »
Philosophical, allegorical, satirical...but how many really care?
I'm not going into the plotline here because I'm limited to 1000 words. I don't think I can wrap up the plot that space.
I'm a recent inductee into the strange and twisted world of David Lynch. It all started when I caught a rerun of "Twin Peaks" on a low-budget digital satellite channel. Since then I've been hooked, and have had fun with cult films and filmmakers since.
Lost Highway is, as descried by Lynch, a new twist on film-noir. And only Lynch could put a twist like this on a classic genre. People keep wanting to draw comparisons to other films, saying: "Well, it's not Blue Velvet" or "It's not Mulholland Dr,"...they're right. It's Lost Highway, a unique and twisted foray down a dark highway that may or may not be entirely metaphorical...or metaphysical.
One of the things that I've noticed about David Lynch--and what probably inspires much of the hatred non-Lynch fans have towards his work--is that he doesn't explain everything. He lays it out, says "Here's my story. What do YOU make of it?" It's an incredible artistic attitude, much like viewing a Dali painting as opposed to a Da Vinci, and not for everyone's tastes.
Lost Highway is open to many interpretations, as are most of Lynch's works. Are we in our world, and being invaded by some outside force? Are we in a world we don't know we're in? Are we in Hell? What would you do if this happened to you? Maybe we are all someone else, really.
This film is at the same time allegorical, philosophical, incomprehensible, and satirical. It warps understood movie conventions, and is always pulling the unexpected.
All that praise aside, it is NOT the best of Lynch's work. One would have to be a fan to enjoy this, and should establish that fanhood with his better works, like Mulholland Drive, Blue Velvet, or "Twin Peaks."
If one has a set standard of how movies should be, an A-B-C pattern, stay away. But if it's originality, unanswered questions, and a break from standard Hollywood convention, go full ahead.
In my humble opinion, it's better than Wild at Heart and Dune, but not most of Lynch's rest. It is definitely an experience, but not one everybody will enjoy.
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