7.6/10
117,194
463 user 147 critic

Lost Highway (1997)

After a bizarre encounter at a party, a jazz saxophonist is framed for the murder of his wife and sent to prison, where he inexplicably morphs into a young mechanic and begins leading a new life.

Director:

David Lynch
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Popularity
2,100 ( 396)

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1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Bill Pullman ... Fred Madison
Patricia Arquette ... Renee Madison / Alice Wakefield
John Roselius John Roselius ... Al
Louis Eppolito Louis Eppolito ... Ed (as Lou Eppolito)
Jenna Maetlind Jenna Maetlind ... Party Girl
Michael Massee ... Andy
Robert Blake ... Mystery Man
Henry Rollins ... Guard Henry
Michael Shamus Wiles ... Guard Mike
Mink Stole ... Forewoman (voice)
Leonard Termo ... Judge (voice)
Ivory Ocean Ivory Ocean ... Guard Ivory
Jack Kehler ... Guard Johnny Mack
David Byrd David Byrd ... Doctor Smordin
Gene Ross ... Warden Clements
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Storyline

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 <jdean@gslink.net>

Plot Summary | Plot Synopsis

Genres:

Mystery | Thriller

Motion Picture Rating (MPAA)

Rated R for bizarre violent and sexual content, and for strong language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | USA

Language:

English

Release Date:

15 January 1997 (France) See more »

Also Known As:

Carretera perdida See more »

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Box Office

Budget:

$15,000,000 (estimated)

Opening Weekend USA:

$212,710, 23 February 1997, Limited Release

Gross USA:

$3,796,699, 20 April 1997
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

DIRECTOR TRADEMARK (David Lynch): (singers): Henry Rollins and Marilyn Manson. See more »

Quotes

Guard Johnny Mack: Captain Luneau?
Captain Luneau: Yeah, Mack?
Guard Johnny Mack: Captain, this is some spooky shit we got here.
See more »

Crazy Credits

A Real Trooper-Guadalupe Hurst See more »

Alternate Versions

The "Rammstein" music video shows the scene of Fred being featured on one of the video tapes. See more »

Connections

Referenced in Narco (2004) See more »

Soundtracks

I'm Deranged
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 »

Frequently Asked Questions

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User Reviews

Dual
21 June 2006 | by tedgSee all my reviews

All hail David Lynch. All hail the other David Lynch.

Lynch is not a complex man, I think; it is easy to read him. But he is cinematically articulate and its a pleasure of a special sort when you meet an articulate artist. His interest is simply described: duals.

All his films work with some exploration of this idea. What makes him interesting is that he doesn't work the usual way, with a reality and then a surreal overlay. Both elements in his experiments are what we coarsely call "surreal." The game in traveling with him is an investment in the idea that there is no anchor to reality, that all references are among imaginations, sometimes twisted. "Mulholland" was a little too conventional for me because you could actually explain things and one of the realities was sorta real if you ignored a few things.

My favorite Lynch is "Velvet," which imposes the two warring realities on film genres. The most fun is the seemingly straight "Straight" story, which is perhaps the most bizarre encounters of dual strangeness because it seems so ordinary. Dualing roots that keep getting mowed.

But if you are into Lynch, this is an extraordinary pleasure, this one. Its the most obvious in plan, the least hidden in the swirl of two worlds. Neither world is anchored in reality and each hallucinates the other. Probably the only anchor with reality is the most disturbing character in appearance, The Robert Blake guy.

But even these two surrealities are nested in cinematic realities. One is the gangster movie, elevated to cosmic status by the French new wave. The other is visual jazz and the accompanying dream linkages that have been similarly blazed, starting with Dennis Hopper so far as American films.

What you are open to determines what you can get, I suppose. What Lynch provides is a sort of post-post modern notion of film as sometimes centered in itself, with its own cosmologies and lives that always refer to other film notions and never to real ones. There is no fold of us as viewer, no acknowledgment of our world at all (except for the mysterious videos). Celestial madness.

I prepared for this by watching four bad Holmes movies in a row. How we detect and discover is what this is about and is so superior to what we normally encounter, you should watch it.

Ted's Evaluation -- 3 of 3: Worth watching.


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