A mesmerizing meditation on the mysterious nature of identity, LOST HIGHWAY
is rhe latest film by David Lynch, creator of such modern masterworks as
THE ELEPHANT MAN, BLUE VELVET and WILD AT HEART Srarring Bill Pullman, Patricia
Arquette, Balthazar Getty, Robert Loggia and Robert Blake, the film expands
the horizons of the medium, taking its audience on a journey through the
unknown and the unknowable. Radical, even for a Lynch film, LOST HIGHWAY
is not only about the human psyche, it actually seems to take place inside
it
An October Films release, LOST HIGHWAY features an ensemble cast that includes
Natasha Gregson Wagner, Gary Busey and Richard Pryor. Based on a screenplay
by Lynch and Barry Gifford (whose novel Wild at Heart was the source material
for Lynch's Palme D'Or-winning film), it was produced by Deepak Nayar, Tom
Sternberg and Mary Sweeney. Peter Deming was the cinematographer, Patricia
Norris was production and costume designer, and Mary Sweeney was editor.
The film was scored by long time Lynch collaborator Angelo Badalamenti (BLUE
VELVET), with additional compositions by Barry Adamson. The soundtrack,
available on Nothing Records (a division of Interscope) features new songs
by Nine Inch Nails, The Smashing Pumpkins and Marilyn Manson, as well as
music by David Bowie, Trent Reznor, Lou Reed, This Mortal Coil, Antonio
Carlos Jobim and Rammstein.
Set in a city that looks suspiciously like Los Angeles but which is actually
a place of Lynch's own imagining, LOST HIGHWAY - like LA - is both blazingly
modern and resolutely retro in look and feel. Dubbed by Lynch and Gifford
"a 21st-century noir horror film," the film draws its plot, or
rather, its plots, from classic film noirs filled with desperate men and
faithless women, expensive cars and cheap motels. From this inventory of
imagery, Lynch fashions two separate but intersecting stories, one about
a jazz musician (Pullman), tortured by the notion that his wife is having
an affair, who suddenly finds himself accused of her murder. The other concerns
a young mechanic (Getty), drawn into a web of deceit by a temptress who
is cheating on her gangster boyfriend. These two tales are linked by the
fact that the women in both are played by the same actress (Arquetre) and
may, in fact, be the same woman. The men in each are connected by a mysterious,
mind-blowing turn of events that calls into question their very identities.
Unfolding with the logic of a dream, which can be interpreted but never
explained, LOST HIGHWAY is punctuated by a series of occurrences that simply
can't have occurred: one man turns into another; a woman who may be dead
seduces the man who might have killed her; a man phones himself and - inexplicably
- is at the other end of the line to receive his own call! As post-modern
noir detours into the realm of science fiction, it becomes apparent that
in LOST HIGHWAY, the only certainty is uncertainty. That, and the fact that
David Lynch remains one of the most distinctive and fascinating artists
working in film today. Lynch trained and began his artistic career in painting
- (he still creates canvases that arc exhibited internationally) so it
is unsurprising that even his earliest work on film has been described in
terms of painting. From FRASERHEAD onwards, his distinctive style has been
called "expressionistic and, like the expressionists, he places a premium
on conveying emotions that are communicated by the distortion of color,
shape, space and time in a highly personal way. He has also been compared
to the surrealists who, in the words of Andre Breton, believed in "the
omnipotence of the dream." In keeping with this movement, his films
are rebellious experiments in irrationality and abstirdity that bring an
almost psychoanalytic approach to sex, dreams, and the unconscious.
Lynch himself disavows membership in any specific artistic "school,"
even as he acknowledges certain preferences and influences: "I love
Surrealism and I love Expressionism," he says, "but, I had never
seen THE CABINET OF DR. CALIGARI until after I had done EPASERH FAD."
He goes on to say, "Ideas are the thing, and they just come out in
a certain way, based on what you love and what you're feeling. Later on,
you find out that you're in some sort of school!"
Regardless of what label one tries to put on him, Lynch, like all modern
artists -- irrespective of their labels -- brings a radically new attitude
toward both the past and the present and, in his exploration of the film
medium -- a medium that has remained suprisingly realistic in its first
century of existence -- he reveals a modernism that has long been taken
for granted in painting and music, but which is rarely exhibited on screen.
"In my mind," he says, "it's so much fun to have something
that has clues and is mysterious -- something that is understood intuitively
rather than just being spoonfed to you. That's the beauty of cinema, and
it's hardly ever even tried. These days, most films are pretty easily understood,
and so people's minds stop working." Displaying an obvious affection
for abstraction, Lynch's films have become increasingly non-narrative, fueled
less and less by what one might call "story" and increasingly
emphasizing mood, tone, feelings, and a highly subjective vision of the
world. Unlike WILL) AT HEART, which was drawn from a pre-existing novel
by Barry Gifford, LOST HIGHWAY was actually born from a mere phrase from
one of Gifford's novels: "Barry wrote this book Night People,"
Lynch recalls, "and in it, it had a phrase "Lost Highway.' And
I said, 'Barry, I love these two words. We should make something that's
called Lost Highway,' and he said 'Let's write it."' Apart from this,
lynch and Gifford drew inspiration from film noir. ""Barry and
I called it "a 21st-century noir,"' Lynch recalls, explaining
his affection for the genre as follows: "There's a human condition
there - people in trouble, people led into situations that become increasingly
dangerous. And it's also about mood and those kinds of things that can only
happen at night. You can jtist take that," he concludes, "and
run with it your own way.
From this departure point, Lynch and Gifford fashioned a script that actually
subverts the rules of conventional fllmmaking. Ending virtually where it
begins (and full of interior repetitions), the film is structured somewhat
like a circle, although it is far less simple than that. Taking a twist
at a pivotal point - a twist that turns the narrative inside out -- its
a Moehius strip," observes Lynch. "We talked about that while
we were making it."
At its outset, LOST HIGHWAY appears to be the story of Fred Madison (Pullman),
a successful jazz musician married to Renee, a beautiftil brunette who seems
strangely withdrawn. A disturbing study of contemporary marital malaise,
this chapter of the film explores Fred's escalating anxiety and insecurity
as he begins to realize that Renee may be leading a double life. He has
much cause for concern: though Renee says she will be waiting fi)r him while
he is out performing, Fred's call home is unanswered and her bed lies empty.
One night he escorts her to a party hosted by a vagtiely unsavory man, Andy
(Michael Masee), whom he has not met before, and Renee is less than candid
about how she came to know Andy and his crowd.
At the party, Fred has an alarming encounter with a strange gnome-like man
(Robert Blake, identified in the film's credits as "The Mystery Man"),
who insists that he has met Fred before and has even been in his home. The
"Mystery Man" then proceeds to place a call to Fred's hotise and
somehow manages to be at the other end of the line to take his own call.
This shocking confrontation with the impossible - a person who seems to
be in two places at once f()rces Fred (and the viewer) to ask certain questions:
Why does Fred suddenly feel like a stranger in his OWn life? Why does he
know so little about his own wife? Why has he no recollection of encounters
that would seem to be unforgettable? And, who is sending him those mysterious
videos that indicate that someone has access to his home, and has been recording
Fred and Renee's intimate moments? Before Fred can decipher any of these
strange occurrences, something even stranger happens. In a flash, Renee's
bloodied corpse is found in their bedroom. Though Fred has no memory of
the events that led to her death, he is the sole suspect. In fact, given
his recent mental lapses, he could be the killer. The police apparently
subscribe to that theory and Fred, in short order, is arrested, tried, convicted,
and incarcerated.
Layering yet another mystery upon these mysteries, Lynch next takes his
boldest storytelling leap: one day, during a routine cell-check, Fred is
missing. In his place is a young man, Pete Dayton (Balthazar Getty), who
has a conspicuous wound on his head and who, like Fred before him, has no
recollection of the immediate past. The authorities can't begin to tinderstand
how Fred escaped a maximum sectirity prison or how Pete gained entry. Ultimately,
they are forced to release Pete, who has no visible connection to either
Fred or to Renee's death.
At this point, LOST HIGHWAY becomes Pete's story, and we soon learn that
he is an auto mechanic with a girlfriend, Sheila (Natasha Gregson Wagner),
parents (Gary Brisey, Lucy Butler), and a wealthy client, Mr. Eddie (Robert
Loggia), who is probably a gangster and who will let no one but Pete service
his valuable cars. Still disoriented from his "blackout," Pete
has a chance encounter with Mr. Eddie's sultry blonde mistress, Alice (also
played by Patricia Arquctte), and before long he finds himself embroiled
in a torrid affair with another man's woman - a woman about whom he knows
nothing and who, like Renee, appears to be leading a double life.
In keeping with the Moebius strip concept, Pete's story is virttially the
inverse of Fred's: one man is a middle-aged artist who lives comfortably
in the hills above the city, the other a youthful laborer from the blue-collar
row-houses in the valley. Fred loses his woman to another man, Pete steals
another mans woman. Yet, for all these differences, these two men frinction
as each other's alter egos and their common, uncommon experiences in confused
identity, memory loss, depersonalized sex and, ultimately, betrayal and
death, are equivalent. "They're living the same relationship,"
observes Lynch, "but they're living it in two different ways. They're
victims in different ways, in both worlds." The "transformation"
of Fred into Pete, which combines the fisney of Lewis Carroll with the phantasmagoria
of Franz Kafka is, perhaps, the defining aspect of LOST HIGHWAY in that
it denies the atidience something they get from most other movies - a literal
explanation. (Lynch even taunts the atidience in a scene at Pete's home
during which he asks his parents what happened to him and his father, eyes
brimming with tears, refuses to answer. The implication is that the father
has an explanation, but can't bring himself to utter it. Perhaps this is
Lynch telling us that he, too, has an answer but that we, like Pete, will
have to find it on our own.)
It is tempting, while viewing LOST HIGHWAY, to make something linear and
literal out of Lynch's Moebius strip. For instance, one could say that Renee
and Alice are actually the same woman, with Renee donning a blonde wig and
sneaking off while Fred is working to cavort with Mr. Eddie, Andy and Pete.
"The only problem," Lynch reminds us, "is that Renee was
already killed." One cotild also try to explain the Fred/Pete phenomenon
in strictly psychoanalytical terms. Lynch points out that there is an actual
psychological malady called "psychogenic fugue" that "fits
Fred Madison perfectly. When Barry and I were working we didn't know the
term, htit it's when a person suddenly takes on a completely different personality,
different friends, everything."
In many ways LOST HIGHWAY is about psychogenic fugue. (Furthermore, the
mtisical term "fugue," which is defined as "a musical form
composed for multiple instruments or voices in which the subject is announced
in one voice and then developed by another," is highly applicable to
the film.) However, if psychogenic fugue were Fred's problem - if it were
simply that he had developed a new identity for himself - how would one
explain a new family, new body, and new fingerprints?
Easy explanations aside, Lynch maintains that the answers are nonetheless
there. "There are explanations for a billion things in life that aren't
so understandable, and yet inside - somewhere - they are understandable.
There arc things that happen to people that can be understood in terms of
jealousy, or fear, or love. Maybe not in a rational, intellectual way. "
Lynch insists that the Fred/Pete "transformation" and other stich
occtirrences are not inexplicable." He continties: "It's like
when you are sitting alone, yoti sometimes have the feeling that there are
different parts of you. There are certain things that you can do and there
are certain things that yoti wotild never do tinless there was a part of
you that took over. So, in a way, it's kind of logical." Here, it is
crucial to point out that grappling with LOST HLGHWAY's unusual plot will
only take the viewer so far. Ln the end, the film is no more about its "story"
than it is about its unique style. Rather, it must be seen in its totality
- a complete integration of music, painting, architecture, poetry and drama
that fuse to form a spectacle that is grander than the sum of its parts.
As Lynch himself puts it, "every single element is critical and the
film is never finished until it's finished. You build the whole thing piece
by piece. The script is one thing, but it's not the finished thing or else
you'd just release the script. It forms a blueprint, and as you start shooting,
you get more ideas, and you see things in front of you." For instance,
the mere choice of Los Angeles as the film's setting adds enormously to
the sense of restless, directionless motion that is the lost highway of
the title. Could the film have taken place elsewhere? "Perhaps,"
says Lynch, "but you don't know how it would affect it. The place,
the light and the feel - all these things come with the knowledge that you
are looking for things to flesh out your ideas, make them more right. For
me, LA was the right place."
The house inhabited by Fred and Renee is similarly integral to the film's
scheme, combining stylistic elements of yesterday, today and tomorrow, just
as the narrative does. In fact, the house's peculiar design could almost
serve as a metaphor for the entire film: when seen from the front, there
are a few small windows, providing limited opportunities to see inside.
But when it is approached from other angles, one realizes that there are
many ways to observe the interior. The design within the house also corresponds
to Lynch's overall vision. "I always like to have the people stand
out, so the furnishings have got to be as minimal as possible so you can
see the people." Lynch adds, "There were many things that had
to be built for the story to work," and since Lynch has lately expanded
his activities to include the design offurniture, he actually built some
pieces for this set himself, most notably the case that contains the Madison's
ominous VCR. The heightened use of ambient sound, along with the eclectic
blend of music, are additional ingredients that Lynch works prominently
into the overall conception of his film. "Half of the film is picture,"
he notes, "the other half is sound. They've got to work together. I
keep saying that there are ten sounds that will be correct and if you get
one of them, you're there. But there are thousands that are incorrect, so
you just have to keep on letting it talk to you and feel it. It's not an
intellectual sort of thing."
Similarly, with the music, which ranges from old standards done in a new
manner, to utterly contemporary pieces that contain haunting echoes from
the past, Lynch's process is intuitive. "I listened to tons of music,"
he says, "and some of it talks to me for this scene or that. I don't
really know why, but each piece that ends up in the film supports the scene
and makes the whole greater than the sum of the parts."
Ultimately, discussing the individual parts that form the whole of LOST
HIGHWAY is something David Lynch is both unwilling and unable to do. "It's
a dangerous thing," he notes, "to say what a picture is. If things
get too specific, the dream stops. When you talk about things, unless you're
a poet, a big thing becomes smaller."
"It's not like I'm trying to cop out, he continues, "but where
these things come from, I honestly don't know. Right now," the director
confides, "I'm trying to find my next film and it's not here yet. I'm
fishing, and maybe tomorrow it will bob to the surface. From where does
it bob? From an area otitside otir consciousness But at one time or another,
it meets your consciousness and then you know it."
"Once an idea comes," he concludes, "it comes with all this
power, like a gigantic spark. And everything is contained in it, and it
thrills your soul. You know just what to do from then on. It's complete."
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