Author: Gracie Cole
After being recommended Twin Peaks for years, I finally sat down and started the iconic show. I knew little about it, other than that David Lynch directed it, and that it was about the mystery of a small-town murder (a trope I’ve always found compelling). Almost immediately into the pilot episode, I fell in love with the characters, the town, and the interwoven storylines. After binging the first season, the strange, dreamlike elements that Lynch is known for inspired me to watch one of his films, as I was intrigued by his unique approach to storytelling. Upon looking at his filmography, I was shocked (and somewhat embarrassed) that I had never seen one of his films, despite being a film major. I started season two of Twin Peaks and chose seven of his films to watch and review. These films were watched in no particular order; rather, I gravitated toward whatever I was feeling in the moment.
Due to time, I left out Lost Highway, Wild at Heart, and The Straight Story, along with his various short films. However, as I am just beginning the third season of Twin Peaks, my David Lynch journey is far from over, and I intend to experience the remainder of his work.
Dune (1984)
With the release of Denis Villenueve’s Dune: Part Two, I wanted to start with Lynch’s 1984 adaptation of the original story by Frank Herbert, which is a science fiction epic about oppression, false prophets, and the harsh intricacies of liberation. While I knew nothing about the Dune story going into this film, I left more confused than before. The film packs the first two books in just over two hours, forcing important plotlines to be skipped over or oddly reorganized, allowing for little world-building. However, I loved the editing and special effects, particularly with the sandworms, and I loved Kyle MacLachlan as Paul Atreides, who I knew from Twin Peaks. While I would encourage Dune fans to watch this adaptation and see a different perspective on the story, I would not recommend it to those trying to get into Dune.
Eraserhead (1977)
After walking away disappointed from Dune, I moved on to Eraserhead, a film I knew I would enjoy. Despite being his directorial debut, Eraserhead stands as one of Lynch’s best and most iconic works of cinema. The film follows Henry as he struggles to care for an unexpected and disturbing baby. Lynch shines as an auteur here, writing, directing, producing, and editing the film. His connection with it is evident with the care that is put into the details of the film. The set design and lighting choices are an homage to German expressionist films, whereas the low frame rate reminds the viewer of Charlie Chaplin and the Silent Film Era. Eraserhead has incredible sound design and practical effects, as with the infamous “Eraserhead Baby.” Lynch also introduces a repeating symbol throughout his films: a singer on a stage in front of a (usually red) curtain. In Eraserhead, The Lady in the Radiator sings “In Heaven,” an eerie song that was later covered by The Pixies in 1988. Despite being visually incredible, the film also deals with themes of marriage, childbirth, and the complications of raising a family.
Inland Empire (2006)
David Lynch has a tendency to create films that require multiple viewings to be understood fully. While this can be a sign of good writing, it’s a lot to expect from the audience when the film is three hours long. Inland Empire takes place over the production of a film with a supposed curse attached to it. The lead, Nikki, starts to spiral as the events of her film interweave with the events in her life. While the question of “what is real?” is compelling, the combination of the length and the incomprehensible meaning does not motivate me to try to solve the mystery on my own. However, despite needing to take multiple days to finish this film, Inland Empire has many positive elements. For one, Laura Dern is incredible and she fits well into Lynch’s filmography, appearing in three of his films. The film is also shot differently from Lynch’s other works, utilizing an amateur style with a wide-angle, handheld camera. This effect disorients the viewer, blurring the line between what is real and what is not. The film is also interspersed with scenes of a family of rabbits, an idea that is expanded in Lynch’s 2002 short, Rabbits. A musical sequence with full choreography is inserted in the film, and I am introduced to Lynch’s lighting effect of placing a character in highly exposed lighting, both of which are symbols that are consistent throughout his filmography. Inland Empire is without a doubt David Lynch’s most confusing film, but it is packed with clues and mysteries for the viewer to decipher. While a casual movie-goer likely would not enjoy this film, it is a great puzzle for those who like to analyze cinema.
The Elephant Man (1980)
While David Lynch is often associated with the color red, Eraserhead and The Elephant Man prove that some of his best work thrives in black and white. Inspired by the life of Joseph Merrick (named John in the film), The Elephant Man explores compassion, humanity, and spectacle. The film emotionally tackles the subjects of individuals with physical disabilities and their exploitation in the freak shows of the late 1800s. While the film feels different than the “Lynchian” style he’s become known for, it is clear that it was crafted with love and care, raising awareness and forcing the audience to reflect on their own actions. John is potentially Lynch’s kindest character and our inclination to connect with him makes his pain much more impactful. John ends the film yelling “I am not an animal!” demanding respect and signifying a change in the treatment of individuals with severe physical disabilities. The Elephant Man is inspiring and informative, making a mockery of The Greatest Showman (2017) for its positive portrayal of the age of freak shows and P. T. Barnum.
Twin Peaks: Fire Walk with Me (1992)
After finishing season two of Twin Peaks, which frustratingly ended on a cliffhanger, I was eager to watch Fire Walk with Me, which was released just a year after the finale episode. I was slightly disappointed to find that the film is a prequel to the show, rather than a chronological continuation. However, I was quickly enraptured by the alternate view of the story. Much like the show, the film explores the murder of Laura Palmer in small-town Twin Peaks and the countless locals that could be involved. The show is rated PG but the film is rated R, allowing for a deeper exploration into the darker themes of the story. Events that were mentioned in the show are now explicitly shown, providing more insight into the life of Laura Palmer and the horrors she experienced in the week before her death. The film is devastating as we meet and connect with Laura ourselves for the first time, rather than hearing others’ stories about her posthumously. I was a bit unhappy when I realized that the actress for Donna had changed, but David Bowie’s cameo made up for it. The film works beautifully in tandem with the show and provides an incredible conclusion, before the release of season three twenty-five years later. Fire Walk with Me combines the comfortable, small-town feel of the original show with a darker, sleazy side of Twin Peaks.
Mulholland Drive (2001)
After watching two romcoms earlier in the day, I took a hard pivot and watched Mulholland Drive, which I loved. Arguably Lynch’s most popular film, Mulholland Drive is deserving of that title, as its portrayal of the Hollywood Dream beautifully unravels from an idealistic world to the dark reality of the industry. The film follows aspiring actress Betty as she helps glamorous Rita rediscover her identity after a car accident. Mulholland Drive time jumps, has the same actresses play multiple roles, and is ambiguous about the existence of certain characters. For example, it is unclear if certain characters represent a concept, an alternate personality, or are simply themselves. If you like Hollywood, non-linear storytelling, and queer cinema, you would like Mulholland Drive.
Blue Velvet (1986)
Finally, I watched Blue Velvet, which stars Kyle MacLachlan and Laura Dern, who were frequent collaborators with David Lynch. Blue Velvet brings us to a small town where a severed ear is found. This leads Jeffrey (MacLachlan) to investigate, involving him in a dangerous crime world as he develops a relationship with a nightclub singer. Blue Velvet foils innocent high schooler Sandy (Dern) with Dorothy, who is very comfortable in her sexuality, placing Jeffrey in the middle. Like Twin Peaks, this film combines the idealized 1950s lifestyle with an abusive and dangerous underworld. The film is very stylized, with the royal blue color palette interrupted with red as well as the calligraphic font used in the opening and ending credits. The repeated use of Bobby Vinton’s “Blue Velvet” and Roy Orbison’s “In Dreams” creates an unsettling environment when it is contrasted with the violent and perverse acts of the antagonists. More straightforward than Lynch’s other films, Blue Velvet instead reminded me of a David Cronenberg film, sharing the disturbing sexuality of Videodrome and Crash.
In the end, I finished these seven films with a deeper understanding of David Lynch, an incredibly unique and innovative auteur. Lynch is a master at creating a dreamlike state where the line between reality and fiction is blurred. He has symbols that repeatedly occur throughout his films, such as the red curtain, but their significance changes depending on the context of the film. As Lynch refuses to explain the meanings behind his films, the audience is encouraged to create their own explanation. Thus, a David Lynch film is a unique experience with a different meaning for each viewer.
That being said, the YouTube channel Twin Perfect creates fantastic analysis and explanation videos to help you truly appreciate (and understand) David Lynch’s films.
Gracie Cole I Follow My Letterboxd! I KXSU Arts Reporter