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.
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.
Director:
David Lynch
Stars:
Isabella Rossellini,
Kyle MacLachlan,
Dennis Hopper
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 young FBI agent disappears while investigating a murder miles from Twin Peaks that may be related to the future murder of Laura Palmer; the last week of the life of Laura Palmer is chronicled.
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.
Twin Peaks before Twin Peaks (1990) and at the same time not always and entirely in the same place as Twin Peaks: Fire Walk with Me (1992). A feature film which presents deleted scenes from Twin Peaks: Fire Walk with Me (1992) assembled together for the first time in an untold portion of the story's prequel.
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>
Mr. Eddy:
How you doin' Pete?
Pete Dayton:
Okay.
Mr. Eddy:
I'm sure you noticed that girl that was with me the other day, good lookin' blonde? She stayed in the car? Her name is Alice. I swear I love that girl to death. If I ever find out that somebody was making out with her, I'd take this...
[pulls out a .357 pistol]
Mr. Eddy:
...and shove it so far up his ass it would come out of his mouth. Then you know what I'd do?
Pete Dayton:
What?
Mr. Eddy:
I'd blow his fuckin' brains out.
[Mr. Eddy puts his gun away]
Mr. Eddy:
Hey, you're looking good. What you been up to?
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Something Wicked This Way Comes
Performed by Barry Adamson appearing courtesy of Mute Records Ltd.
by arrangement with Warner Special Products.
Written by Barry Adamson (courtesy of Mute Songs and Windswept Pacific) and contains excerpts from
1) "Spooky"
Written by Harry Middlebrooks (as H. Middlesbrooke), Mike Shapiro (as M. Shapiro),
'Buddy Buie' (as B. Buie) and J.R. Cobb and published by Lowery Music Co. Inc.
2) "Blues Lines"
Written by Robert Del Naja (as R. Del Naja), Grant Marshall (as G. Marshall), Andrew Vowles (as A. Vowles) and Tricky (as A. Thaws) and published by Island Music Ltd. and
3) "Le Temps Des Souvenirs"
Written by Jacques Datin, Maurice Vidalin and Charles Blackwell and published by EMI Limited Partnership Ltd. See more »
Clearly, as with most of David Lynch's films, Lost Highway is not for everyone. It is, as Lynch intended it to be, a film realization of a dream. In this regard, it is comparable, in terms of artistry and raw intensity to Kurosawa's _Dreams_. Indeed, in terms of sensory experience - cinematography and sound, for example - Kurosawa and Lynch have few rivals. However, the comparison falls away rather quickly in consideration of the film's content. Lost Highway is really no dream, but a nightmare.
Let's face it, like it or not, everything Lynch does is intentional. This film has inspired polarized reviews here on IMDB. Those looking for a plot-heavy movie that they do not necessarily have to pay attention to tend to despise it. Those who are open to allowing this manipulative, intensely disturbing and thought-provoking film to carry them into its own parcel of hell love it. This is, in my opinion, what good art can do.
Like a dream, Lost Highway has as many plots as it does viewers with their own individual interpretations and perspectives. It forces itself upon you with a vengeance, but simultaneously encourages the kind of disengagement you experience when you are conscious that you are dreaming.
I recommend Lost Highway highly. See it with intelligent, open-minded friends who like to talk about film experiences. And expect that the conversation will keep you up way past your bed time.
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Clearly, as with most of David Lynch's films, Lost Highway is not for everyone. It is, as Lynch intended it to be, a film realization of a dream. In this regard, it is comparable, in terms of artistry and raw intensity to Kurosawa's _Dreams_. Indeed, in terms of sensory experience - cinematography and sound, for example - Kurosawa and Lynch have few rivals. However, the comparison falls away rather quickly in consideration of the film's content. Lost Highway is really no dream, but a nightmare.
Let's face it, like it or not, everything Lynch does is intentional. This film has inspired polarized reviews here on IMDB. Those looking for a plot-heavy movie that they do not necessarily have to pay attention to tend to despise it. Those who are open to allowing this manipulative, intensely disturbing and thought-provoking film to carry them into its own parcel of hell love it. This is, in my opinion, what good art can do.
Like a dream, Lost Highway has as many plots as it does viewers with their own individual interpretations and perspectives. It forces itself upon you with a vengeance, but simultaneously encourages the kind of disengagement you experience when you are conscious that you are dreaming.
I recommend Lost Highway highly. See it with intelligent, open-minded friends who like to talk about film experiences. And expect that the conversation will keep you up way past your bed time.