Director: David Lynch
Stars: Bill Pullman, Patricia Arquette, Balthazar Getty, Robert Blake
Dick Laurent may be dead, but long live David Lynch!
I make no secret about David Lynch being my favourite ever director. He makes films like no other by building dark worlds which draw you in by putting you in some sort of spell. I love him so much that I put off seeing Lost Highway for over a year because it was the only David Lynch film I was yet to see. I was even considering not seeing it at all just so I could always have that one new David Lynch film, but then I thought that would just be ridiculous. Also, the revival of Twin Peaks was enough to pique my David Lynch anticipation meter to breaking point so I finally gave in and stuck in Lost Highway.
Firstly, I don’t think it’s as grossly strange as some people make out. Yes, it has all the trademark bizarreness you come to expect from David but the majority of the film is surprisingly linear. I was expecting some next level INLAND EMPIRE stuff the way some folk bang on about it! The first 40 minutes are like Michael Haneke’s Hidden in dream form. It’s probably some of the best stuff our David has ever done due to the inexplicably tense and hellish atmosphere. A lot of the scariness is down to the terrifying music which ranges to ominous drones to extremely loud strings. There’s one seriously nightmarish image near the start (which I’ve never heard anyone talk about, surprisingly) which sent chills up my spine. It’s a full-on Lynchian assault on the senses which takes you down some dark and enthralling corners. The atmosphere is chock-a-block full of mystery.
There are endlessly beautiful scenes including Fred playing the saxophone, the unsettling meeting with the Mystery Man and extremely frightening dream sequences. I think it’s also important to note the expert positions David places the camera. There always seems to be too much space surrounding the characters and it makes for seriously eerie viewing. There’s also that fantastic Francis Bacon inspired colour scheme of dark purples/pinks and shadows. He really does direct the hell out of the first forty minutes of this film.
Suddenly the film changes into something entirely different as soon as Fred Madison randomly transforms into a young mechanic called Pete Dayton and takes on an entirely new life. No one seems to bat an eyelid about Fred Madison disappearing and the sudden change is quite jarring. In my opinion, this is when the film goes down a gear. I think because the first story is so strong, this second one pales slightly in comparison as the suffocating atmosphere somewhat dissipates and the overall strangeness ceases. Don’t get me wrong, there’s still a lot to love it just feels less Lynchy and more straightforward, and the Pete Dayton story is the biggest chunk of the film.
There are still some spectacular sequences though, including a mysterious gangster getting road rage and Patricia Arquette’s intriguing Alice character. There’s also a strong feeling of everything not quite being what it seems and it gives you time to ponder over exactly what the heck you’re watching. Thankfully for us weirdos things do start to get extremely strange towards the final half hour of the film before breaking down into total chaos until your mind finally explodes.
Lost Highway is extremely puzzling in a similar way to Mulholland Dive. All of the clues seem to be there as well as a few abstractions to throw lots of spanners into the works (what does this Mystery Man have to do with it all!?) but there is a complex and very intelligent story buried underneath all the bizarreness. It feels like a warm-up exercise before Dave finally broke the mould of film with Mulholland Drive. Everything in Mulholland feels like a perfected version of Lost Highway from the more passionate love story to the unrelenting dreamlike atmosphere.
Lost Highway is still a film to cherish on the Lynchian canon though. It’s very much its own thing and I felt a strong urge to see it all again once it had all finished. Unlike Mulholland Drive there doesn’t seem to be a universal theory to Lost Highway which makes it all the more interesting to watch again and again to dig for clues. However, as with all Lynchy films the best thing to do is just sit back and let your intuition drive you rather than your brain. It’s not an IQ test but a piece of art which is designed to take you on a journey. No one makes films that make you feel quite like David Lynch does. Let’s hope that the Twin Peaks revival encourages our Dave to get back into more regular filmmaking again. I couldn’t bear to wait another ten years!