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
In the scene where Mystery Man (Robert Blake) confronts Fred Madison (Bill Pullman) at the party, hands him his cell phone, and instructs him to call his own home, there is a close-up of Madison punching in the number with his right hand. In the area between his index finger and thumb, there is a tattoo of a fermata, an element of musical notation indicating that a note should be sustained for longer than its note value would indicate. This is consistent with the scene of his character continuing to play his solo at the Luna Lounge, even after the rest of the band has stopped playing. See more »
When Pete and Alice are having sex in the car, external shots show the car parked alongside a wall in a dark, tree-covered section of street. Yet in interior shots, the wall is many metres away in the far background and is brightly illuminated. 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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