Lost Highway (1997) Other movies recommended for you
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Plot: 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. Runtime: 134 mins Release Date: 20 Feb 1997
I believe it was the legendary Homer Simpson who once gave the ideal description on David Lynch productions. During watching a Twin Peaks'-episode he said, `Brilliant but I don't get it'. Too true you love what you're seeing and you want to be a part of the mysterious Lynch universe! You actually feel the urge to search for solutions, you want to solve the riddle that is Lost Highway and you desperately try to do so until you realize it's in fact a puzzle that cannot be solved. Therefore, my advice would be: Don't try to be Einstein and develop too many <more>
theories' just get overwhelmed by Lost Highway and enjoy the mixture of weirdness, violence and erotica you get to see. It's amazing what David Lynch pulls off here! He serves an absurd and impossible structure that involves an inexplicable metamorphosis of the protagonist and he actually gets away with it!! Meanwhile, he introduces a bunch of bizarre but extremely fascinating characters of which you don't know they're real or just creations of a mentally ill mind. Lynch in top-condition, in other words you almost start to suspect he's laughing with his audience. The quality of Lost Highway is brought up to an even higher level by the terrific musical score Angelo Badalamenti , a blasting soundtrack Rammstein! and sublime acting. Bill Pullman and Balthazar Ghetty supply each other terrifically, even though they don't have ONE scene together. And Patricia Arquette either blond or brunette looks gorgeous. No wonder men in this film fall into madness over her. Lost Highway comes with my highest possible recommendation, yet I still prefer the David Lynch of the lat 70's and 80's. Can't really give a reasonable explanation for this Films like Blue Velvet and Eraserhead had something extra.
An incredibly well-done film... but not for everyone's tastes (by TBJCSKCNRRQTreviews)
This is the first film directed by David Lynch I've seen, not counting The Elephant Man, which is another great film, but is an outsider in his career, since it is not surreal. This film is, however, making it the first typical Lynch film I've seen. And I'm honestly not sure what to make of it. I had heard a lot about Lynch's films before watching, but I guess I hadn't heard enough. I went into this film hoping for a good mystery, an interesting puzzle to solve. As the end credits rolled I didn't know what to make of what I had just seen. I didn't get an answer to <more>
the question I kept asking while I was watching; "What exactly is this film about?". As soon as the credits were over, I read a comment or two by Lynch fans... and the truth dawned on me. It's not supposed to be solved. It's not a movie where you, when you see the very end, exclaim "Ah! Now I get it!". This film won't provide you with some twist ending or have a character come up to the lead and explain it all. It's not supposed to make perfect sense or be easily explainable. It's not real. It's fantasy. Fiction. The whole film is like a dream, or, more appropriately, a nightmare. The film is great; it's just not for me. I won't let that affect my rating, however. This was an excellent example of masterful film-making. Lynch's direction is eminent, evidenced by the fact that I kept watching, despite not understanding half of what was going on or being able to sympathize with any character something we are much too used to from mainstream movies . The lighting is great. Lynch really plays around with it, and it's always interesting to look at. It also really adds to the mood, nicely set by careful editing and music usage. The acting is flawless, and that is not a term I use lightly. All in all, a wonderfully well-done film, but definitely not for everyone. Wasn't in my tastes, but I enjoyed how well-made it was regardless. I recommend this to fans of art films, rather than conventional ones. Fans of Lynch should enjoy this. Very surreal and loose. 10/10
Lighting. That's the thing I remembered most from the first time I saw this film. Amazing lighting. Certain directors, Lynch included, are able to tell the story using camera movement, what's seen/not seen. Lynch, however, has taken that a step further with the way he chooses to light his scenes - he sculpts his shots in a manner that seems almost more like a theatrical lighting designer's work. The use of shadows within the home, the stark colors that accompany certain scenes, even the car lighting in the titles - all of this is used to draw the audience's attention to a <more>
certain point, and all of it thrills. With the terse, "European art-film" dialogue style at first the most distancing thing I found in Lynch's work, it is now one of my favorite elements , sharp sound work, a strong cast, and the marvelous, spiralling structure of the film only reinforcing it's strongest feature - its atmosphere - this is a work that will be discussed long after the credits fade. In my short 22 years, the best film I've seen, bar none.
For those, who try to understand the Movie (by knockpasheemore)
First of all let me say, that it is not as serious, if you don't get the movies of David Lynch at once or even never . Lynch is not a film maker who tries to make movies with a problem-solving message, but an artist. Moreover he started as a painter and so he tries to create an atmosphere more than to develop a story.Most viewers will have realized that "Lost Highway" is a story about a schizophrenic murderer even Lynch mentioned it . But that is not the complete clue to the movie. Cause everyone is aware of Fred's metamorphosis although no one seems to really care about <more>
. So his mutation seems to be real and till the end no one proves the opposite! But "Lost Highway" is not a common movie about schizophrenia like "Beautiful Mind" or "Das weiße Rauschen" Which is a must-see, too! . INSANITY IS NOT THE SUBJECT, BUT THE NARRATIVE PRINCIPLE OF THE MOVIE! In other words: The movie is not a presentation of mental sickness, but a complete sick presentation, which means that the subjective perception of the protagonist becomes the objective reality! You'll find this way of telling a story quite often in surrealistic literature i.e Franz Kafka's "Die Verwandlung" engl.: "Metamorphosis" - just note the title!! .All Lynch-Movies refer to mental illness or the state of dreaming: No character ever seems to care about the illogical and irrational twists of the plot just like in dreams , the landscapes are unrealistic and change appearance or size and the story takes place at deserted areas forests, claustrophobic rooms, industrial areas, desserts far away from civilization or reality!Insanity - Sanity/ Evil - Good/ Reality - Fiction are no longer categories one can rely on. The protagonists see their surroundings and environment always threatening, but they never question it! They act with such a matter of course, that one has to ask whether it is ignorance, naiveté or self-deception. Perhaps you don't have to ask yourself how far you are able to UNDERSTAND the message. Perhaps you have to ask yourself how far you are willing to ACCEPT the message. Be aware, that once you started seeing the world at a different way you will follow that white rabbit right the way in his burrow...
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 <more>
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.
The way I see this film--and it may not be original or new to anyone, if not, I apologize--is that it should be understood, at least partly, as a film noir movie, and that the "message" if there is one or intent of Lynch is to comment on the modern psyche through the film noir genre. The elements of film noir are these: a man who is innocent of all wrong, finds himself in an inescapable situation in which he is pointed out as a culprit/criminal. He is helpless not only in wrenching free of the circumstances usually he is set up by someone , but is quite in the dark as to how he <more>
arrived in the center of the mess in the first place. Another element is that the man is usually used by a woman.All of these fit in with "Lost Highway". The Bill Pullman character definitely finds himself in bizarre relationship with his wife played by Patricia Arquette , receives strange videos of someone entering his house, and then showing him murdering his wife. His character is completely innocent from the audience's point of view. In some supernatural, nonlinear way that must involve some kind of time warp, he is fingered as his wife's assassin and jailed for it. And you can't help think that his wife is somehow in on it.When the transformation into the Balthazar Getty character happens, it is Balthazar's turn to meet another woman played, not by accident, by Patricia Arquette who then seduces him and uses him to escape her relationship with her mobster boyfriend. The Getty character is unaware that he is being used, although comes to some realization that she's not as innocent as she seems.In the end, when the Getty character transforms back into the Pullman character, you realize, a little at least, why the two are connected. They, perhaps, are connected because they represent the fact that finding oneself helpless, framed, and convicted at least on one level , is a universal phenomenon, not just one meant to tell a story.When Pullman, running from the cops, stops by his own house to warn himself via intercom of his future--that's really a nice touch, and makes your hair stand on end. The self trying eternally to reach back and save itself or something like that .And then, when he's driving down the Lost Highway, it's really spooky because you don't know whether it is a highway to redemption or a useless attempt to escape the inescapable.It's such a great movie, and a million things could be said about it on so many different levels. Lynch's creepiness, and his use of the other-worldly elements really make the movie. To me, Lynch is the best American director alive. Jarmusch, Scorsese et al are fine, but they've yet to produce the kind of complexity of form and transcendence of vision that Lynch has achieved.
This was the first time I was in anticipation of the release of a David Lynch film. Having only discovered his movies and Twin Peaks in the period of 1992-1997. I became a huge fan, owning several films on video as well as the complete Twin Peaks series.I was not disappointed with Lost Highway. A film that left me totally stunned. A film that I did not want to end, in the hope that I could figure out what was going on. A film that left some scenes imprinted on my brain like a tattoo. A film that is a dream.This film is what dreams are. There are times when you feel you control the dream, <more>
and times where you feel it escapes you. Slow and rapid events. Images that don't make sense. Fantasy. Horror. Surrealism. Symbolism. All part of a long dream, that I doubt anyone can decipher, including Mr Lynch.Seeing this film for the second time with a person who truly did not "get it" though I thank her for her patience to watch the whole film , made realise that there are two kinds of people in this world. I love this film. I can't wait to watch it again.
All hail David Lynch. All hail the other David Lynch.Lynch is not a complex man, I think; it is easy to read him. But he is cinematically articulate and its a pleasure of a special sort when you meet an articulate artist. His interest is simply described: duals.All his films work with some exploration of this idea. What makes him interesting is that he doesn't work the usual way, with a reality and then a surreal overlay. Both elements in his experiments are what we coarsely call "surreal." The game in traveling with him is an investment in the idea that there is no anchor to <more>
reality, that all references are among imaginations, sometimes twisted. "Mulholland" was a little too conventional for me because you could actually explain things and one of the realities was sorta real if you ignored a few things.My favorite Lynch is "Velvet," which imposes the two warring realities on film genres. The most fun is the seemingly straight "Straight" story, which is perhaps the most bizarre encounters of dual strangeness because it seems so ordinary. Dualing roots that keep getting mowed.But if you are into Lynch, this is an extraordinary pleasure, this one. Its the most obvious in plan, the least hidden in the swirl of two worlds. Neither world is anchored in reality and each hallucinates the other. Probably the only anchor with reality is the most disturbing character in appearance, The Robert Blake guy.But even these two surrealities are nested in cinematic realities. One is the gangster movie, elevated to cosmic status by the French new wave. The other is visual jazz and the accompanying dream linkages that have been similarly blazed, starting with Dennis Hopper so far as American films.What you are open to determines what you can get, I suppose. What Lynch provides is a sort of post-post modern notion of film as sometimes centered in itself, with its own cosmologies and lives that always refer to other film notions and never to real ones. There is no fold of us as viewer, no acknowledgment of our world at all except for the mysterious videos . Celestial madness.I prepared for this by watching four bad Holmes movies in a row. How we detect and discover is what this is about and is so superior to what we normally encounter, you should watch it.Ted's Evaluation -- 3 of 3: Worth watching.
My explanation of this wonderful film. (by Takeshi-K)
Don't read this unless you want it explained . Fred found out that his Wife had done adult films in the past. She promised him she wouldn't do it again. He can't handle it. He's super stressed out about it and can only feel release through playing jazz and having frenetic sex with his Wife. His behavior freaks her out.She starts to reconnect with her friendships she had neglected due to her marriage. One of them is a former adult film producer/star with whom she had worked years before. Fred sees her talking to him at the party. Their somewhat over friendly behavior gets Fred <more>
really angry. They return home with Fred still seething. His Wife tells him that Dick Laurent wants her to go back to her adult film career. His hatred for her past life explodes in a moment of rage when he murders Her in their bedroom. This is the Woman he loves and married. How dare She dirty them both? He gets arrested and thrown in Jail.While in jail he reminisces about when he met her when He was younger as Balthazar Getty , more carefree and when She was still pure in his mind. This is why we see two version of his Wife, One pure and clean the other dark and dirty. The fantasy image he wants to hold onto vs the dirty whore. He has fantasies of killing Dick Laurent too, but he can't because he is in jail. His mind finally cracks and he goes crazy, his mind wanting to only remember the good things, but the truth of the horror of his actions keep invading his thoughts. This is what the Mystery Man is. Truth. The truth about his guilt. This is why he follows Fred whever he goes. Because the Truth of our bad actions will always haunt us. Just like the intrusive video tapes. It could be argued then that the whole movie is Fred sitting in jail stewing in insane grief and guilt, yearning to escape and run free ... down The Lost Highway.