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Lost Highway

 
  

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The Dadaist
01:20 / 24.04.02
Did somebody watch this film?? David Linch is the director.
I donĀ“t know if I undestand this movie.
 
 
ill tonic
01:27 / 24.04.02
Don't even bother to try.
 
 
Zebbin
02:52 / 24.04.02
Watch it a few more times, then a few more times. After that spend the next week meditating about three hours a day on the different imagery, characters, play the soundtrack while you sleep, etc, etc, etc.

Still won't make any sense but at least you tried...
 
 
The Dadaist
02:55 / 24.04.02
Zebbin, Did you watch this movie?
Give me your interpretation.
 
 
videodrome
10:38 / 24.04.02
Don't even try? Give up pretty easy, there, Nightguard.

Fred Madison kills his wife, as well as at least two other people with whom she was involved. He can't really face the fact that he did it, so he creates a dream identity for himself - Pete Dayton. It's kinda like Mulholland - Pete lives Fred's fantasy life because, well, he can. He's young, respected at work, he's got more pussy than he can handle. But there's cracks in the fantasy, pretty much from the beginning, as his knowledge of what he's done seeps through the dream. The main problem is there's the girl, who is his wife, and the creepy white-faced guy with no eyebrows, who's either the personification of rage (if you take Rothkoid's view) or his own full, willing knowledge of what he's done (if you take mine). Pretty much the same thing, though. Ultimately the fantasy cracks and Pete becomes plain ol' Fred again, at least until he's fully back into remembering what happened (running from the cops) and he starts to try to escape into fantasy again. There's really very little (if any) stuff in the film that can be considered 'reality' - it's all filtered through Fred's memory to one degree or another. He's good enough to tell you that: "I like to remember things my own way. The way I remember them. Not necessarily the way they happened."

Oh, and David Lynch actually had a guy come to his house (Fred Madison's house in the film), ring his buzzer, say "Dick Laraunt is dead", and leave.

Look up "psychogenic fugue" or "disassociative fugue". Discuss.
 
 
STOATIE LIEKS CHOCOLATE MILK
11:00 / 24.04.02
And of course, Robert Blake, who played the creepy white-faced guy, is currently on trial for murdering his wife...
...AND Jack Nance, who as well as being Henry in Eraserhead, has the classic first line "She's dead... wrapped in plastic" in Twin Peaks, got beaten to death in a fight at a doughnut shop...
Don't get me wrong, I LOVE Lynch. I just don't ever wanna be in any of his movies...
And a stupid (yet true) hint- watch Lost Highway after drinking a LOT of 'flu strength benylin- it works so much better (strangely enough, having discovered that, I experimented- and for some reason, Lynch movies go best with cough syrup... and he's the only director for whom that holds true that I've discovered... not acid, not dope, not pills, not whizz, but fucking cough syrup. Ain't that weird?)
Oh yeah... I'm at your house. Phone me.
 
 
cusm
12:37 / 24.04.02
Dissassociatives and movies about psychogenic fugues where characters generate their own creative interpretations of reality? Naa, I couldn't see that
 
 
videodrome
12:48 / 24.04.02
Then there's my roommate's brother, who called it simply, "Lost Audience"...
 
 
The Natural Way
13:06 / 24.04.02
Vid: V
 
 
invisible_al
15:06 / 24.04.02
Jack Nance Dead?! Jesus.
But Lost Highway...well I think I remember Bill Pullman saying the film was about a guy who splits in two in response to a horrific event. But he couldn't get any clearer than that.
Don't think I can either, Fred kills his wife...possibly he can't cope so creates a good persona (dunno what freds doing apart from ringning himself up at this point). Is the fracture also in time as well, so he can ring himself up?
Fuck it its a dream state film, its not supposed to make strict logical sense, looks amazing at the same time and that white faced man really freaked me out when I saw it.
I am scared by what must be going on in David Lynches head, but its probably a good thing he's making films instead of sticking babies on spikes.
 
 
Tits win
20:25 / 24.04.02
Lynch seems so normal in real life, except for the obsession with buttoning his shirt right to the top, when ya see him ininterviews. it's only when ya see his films that ya think somethings going on inside his head that might just not fit with the rest of reality.
 
 
videodrome
21:01 / 24.04.02
Speak for yourself. As far as I can tell, he's one of the few that can disable all the filters and present a pretty accurate interior reality.
 
 
Mystery Gypt
04:04 / 25.04.02
'nother note on Lost Highway, which may be either obvious or helpful, but lynch said at the time he was completely obsessed with the OJ trial, he could get enough of it, and this film is his version. which is i guess fairly clear, given everything said above.

so what's the imagery of highway and the title itself supposed to bring us?
 
 
videodrome
04:38 / 25.04.02
Well, the highway imagery seems to be something Lynch just likes - the darkness outside the hot glow of headlights, with the movement of the painted lines...it's very hypnotic, and he uses the image (in various forms) multiple times over the course of his output.

But specifically, there's another hint in the first paragraph of the following info, sent by my girl after she saw LH the first time (last week).

---

"Dissociative Fugue
Symptoms

The predominant disturbance is sudden, unexpected travel away
from home or one's customary place of work, with inability to recall
one's past.

Confusion about personal identity or assumption of a new identity
(partial or complete).

The disturbance does not occur exclusively during the course of
Dissociative Identity Disorder and is not due to the direct
physiological effects of a substance (e.g., a drug of abuse, a
medication) or a general medical condition (e.g., temporal lobe
epilepsy).

The symptoms cause clinically significant distress or impairment in
social, occupational, or other important areas of functioning. "
 
 
The Natural Way
07:53 / 25.04.02
Ignore my last post - twas an accident. There's so much I want to say about this movie, but it'd be too much effort and I'm at work. Needless to say, vid's reading is very tempting (pretty much the same one I come to whenever I watch the film), but I can't help feel he's making a bit of a mistake by reducing Pete to an 'hallucination'. AAaah, shit, but I'd better shut up now or I'll really go into one and I've got loads of stuff to do....
 
 
rizla mission
09:05 / 25.04.02
And of course, Robert Blake, who played the creepy white-faced guy, is currently on trial for murdering his wife...
...AND Jack Nance, who as well as being Henry in Eraserhead, has the classic first line "She's dead... wrapped in plastic" in Twin Peaks, got beaten to death in a fight at a doughnut shop...
Don't get me wrong, I LOVE Lynch. I just don't ever wanna be in any of his movies...


fucking hell .. that knowledge isn't going to make my nighttimes any more restful, you know..

Oh, and David Lynch actually had a guy come to his house (Fred Madison's house in the film), ring his buzzer, say "Dick Laraunt is dead", and leave.

Is that from the horses mouth, so to speak, or just a rumour? I heard that the first half of Lost Highway was based directly on a dream he had..

So am I the only one who prefers the supernatural explanation of Lynch films to the psychological one?

I mean, the theories discussed above all fit in nicely, but I find them kind of limiting .. they don't do justice to the sheer terror and weirdness of Lost Highway and Twin Peaks .. y'know?

My initial interpretation of Lost Highway was that the 'scary man' was some kind of malevolent ultra-terrestrial (like the Man From Another Place) manipulating the central character, warping his perceptions and making him murder people, for his own unguessable ends..
 
 
The Natural Way
09:30 / 25.04.02
Yeah, Riz, I mean, for me Mulholland was a fucking haunting and, well, it's fun to play about with the "Hey, that guy invited a demon into his 'house'...and now look!" thing. Yeah, the little guy's the weapon Bill/Balthazar uses to murder his wife and her bits-on-the-side, but it's groovy to imagine that he has some kind of autonomy and that he's not simply a cipher for the MALE GAZE/RAGE, etc. Just as it's also fun to imagine that Balthazar, too, has a life independent of Bill's warped desire to distance himself from the terrible acts he perpetrates. I like the fractal shape of the thing - the recursive patterns scribbled across both character's lives. The continuity of theme and the permeability of identity.... I like the mystery.

Is Mr. Eddie an evil pornogangster? Or is he just Dick Laurant - a dirty little shag in some scummy motel? Lynch just doesn't do objective truth, he doesn't do reduction. The camera does lie, inspite of its relentless gaze, it's meticulously constructed depictions of Pullmans wife/Balth's girlfriend in a hundred different sexual environments....
 
 
The Natural Way
09:40 / 25.04.02
That is to say, Lynch is all about emotional truth - a champion of the subjective - as opposed to the other kind: y'know, the "...Way things actually happened..."
 
 
The Natural Way
09:43 / 25.04.02
Thas' why I don't always dig on the Detective Story-stylestyle, deconstructive approach - I like all the possibilites Lynch's stuff raises....
 
 
Mystery Gypt
10:00 / 25.04.02
i agree lynch let's you play with meaning and rearrange the movie into different movies (hypermovie?), the movie becoming like a brain, the interpretations it's mood or rearranged sense of self.

that said, how could we make an argument the reverses the flow -- Balthazar is "real", he is accidentally put in jail by incompetant cops but retroactively fantasizes a crimnal wife murdering life for himself and then... well what then? could it work?

the road goes to nowhere... all roads lead to...?
 
 
The Return Of Rothkoid
13:10 / 25.04.02
I always visualised the Mystery Man, not Pullman's character, as being the representative of rage in the film. Rage and anger, basically (though sometimes, overtones of death?) - the "I never go where I'm not invited" thing hooking in to that. The possibility that the constantly-barking dog is Cerberus occurred to me, too, a signpost that the couple are already dead...
 
 
The Natural Way
13:37 / 25.04.02
I don't really get that - I think you might be getting a little bit too creative there (what w/ Cerberus and all) - but I DO get it from Mulholland. The black light just keeps pouring through the cracks in the Hollywood fantasy over there.... Who were you clarifying the 'rage' thing w/, Roth? I mean, I think most of us are aware of yr reading (if we hadn't already come to it ourselves). I don't think anyone mentioned Pullmans character being representative of rage, etc. Or did they? Really, I think the best way to describe the demon/little man/clown/whatever would be pure, undiluted male gaze - he's practically textbook.
 
 
The Natural Way
13:38 / 25.04.02
The last sentence refers to the demon and not to Pullman (in case there's any confusion).
 
 
The Natural Way
13:41 / 25.04.02
Which there shouldn't be once my edit kicks in.
 
 
cusm
13:46 / 25.04.02
You know what I like about these movies? While you can boil it down to a simple series of events in reality that spawned the dreamlike reinterpretation of reality that makes up the movie, the dream intersects with what you might understand as the actual reality, making the whole thing a tangled mess of hyperspace interconnections. Yea, you can figure it out, but that's not all that's going on. He adds a supernatural element to it all that you can chase around in recirsive circles over and over and never quite get a handle on. You can't quite resolve it, and I think he does that on purpose.
 
 
The Natural Way
13:52 / 25.04.02
Oh, absolutely.
 
 
CameronStewart
14:00 / 25.04.02
Here's my analysis that I posted on the WEF a while back:

-----------------------------------------------------------------
LOST HIGHWAY is one of those films that leaves a great deal to personal interpretation, so take this with a grain of salt - however, I think most of the following "explanation" was intended by Lynch and Gifford.

It's important to recognize that almost nothing in the fim is literal or "real" - we see the entire story through Fred Madison (Bill Pullman)'s eyes. Fred Madison is completely insane and his perception is distorted.

When the film begins, Fred's wife is ALREADY DEAD. The first third of the film is a memory constructed by Fred to block out the terrible fact that he murdered his own wife. The videotapes left on their front step represent his subconscious trying to break through the fantasy that he's constructed for himself - video cameras tell the "truth", as indicated by the following exchange:

Renee: Fred doesn't like video cameras.
Detective: Why is that?
Fred: I like to remember things **in my own way, instead of how they actually happened.**

The Mystery Man is the embodiment of Fred's repressed emotions (fire represents rage, passion, etc. We see a shot of a cabin - Fred's mind - exploding in reverse. All the fire is sucked into it - bottled up - and we then see The Mystery Man emerge from the cabin.). Fred created him - "It is not my custom to go where I am not invited."

As the final "video tape" (suppressed memories, remember?) is delivered to the house, finally showing Fred standing over the dismembered corpse of his own wife, we flash to Fred in an interrogation room, being worked over by the detectives. This is arguably the only "real" scene in the film - Fred momentarily snapping out of his delusion to say "I didn't kill her - please tell me I didn't kill her..."

And so he's condemned to death by the electric chair. On death row, and with no *physical* means of escape, Fred retreats into his mind and creates an entirely new identity for himself - Pete the mechanic. The whole of "Pete's" story is occurring in Fred's mind as he sits awaiting execution. Occasionally his subconscious memory intrudes into the fantasy, such as when we hear Fred's saxophone music blaring from the radio in the garage - "Pete" shuts it off, saying it gives him a headache - he's deliberately repressing his true identity.

And then "Alice" shows up - Pete/Fred has conjured the perfect fantasy girl for himself; she looks just like his dead wife and isn't unfaithful like Renee was - in fact, in the fantasy, "Pete" is the one cheating on his girlfriend, a construct of his mind designed to give him the power in the relationship since in his "real" identity he's impotent.

Phew. You following this?

And so it goes, with his mind not quite able to shut out reality. The fantasy begins to break down and in it he's driven to kill again - this time the victim is Andy, the man Fred suspected of sleeping with his wife. I'm hazy on what happens next, but eventually there's the sex scene between "Alice" and "Pete" where he repeatedly tells her he wants her, to which she replies "You'll never have me." Because, of course, she's dead and he's responsible - he can never live Happily Ever After with Renee. At this revelation and subsequent confrontation with The Mystery Man (subconscious trying to shock him back to reality: "What the fuck is your name?!?"), "Pete" once again becomes Fred.

And then it all begins again - Fred goes back to his house (not literally, he's still in prison as this goes on in his mind) and speaks into the intercom: "Dick Laurent is dead," which is how the film began, signifying that he's lost in the maze of his own mind, going round and round and round again. As he flees from the police at the film's end one of two things happens - he starts creating yet another identity for himself, or, my preferred interpretation, he's finally sitting in the electric chair; his body starts to burn and distort (earlier in the film we hear the Mystery Man say "In the Far East when someone is sentenced to die they are sent to a place from which there is no escape" - his mind - "never knowing when the executioner will come up behind them and pull the trigger."). The film closes as Fred's mind and body finally die.

Obviously this is just skimming the surface - watch it again with all this in mind and you'll start to piece it together....
 
 
The Natural Way
14:30 / 25.04.02
Great stuff.

"The you'll never have me" thing must also refer to the fact that Fred's desperate attempt to control/own Renee are doomed - she embodies an archetype that cannot remain constant/fidelitous. She's not just a person, she's also Fred's obsessive wank fantasy: the Maddona & the whore. And she's never completely "pure" in her Alice persona, either - towards the fantasy's dissolution her personality becomes more and more elastic, bouncing bakwards and forwards between her dual identities: at one moment faithful and true, and the next, scheming, out-for-herself and vaguely threatening.

I like the cracks.
 
 
The Natural Way
14:32 / 25.04.02
And why the fuck am I writing like such a penis today?
 
 
videodrome
14:36 / 25.04.02
Yeah - that's pretty much what I said back at the beginning of the thread, Cameron - explained in more depth, though.

And now...(flourishes)...a couple of quotes!

All from Lynch On Lynch, all spoekn by Lynch unless indicated:


Well, Barry Gifford wrote a book called
Night People, and in it a character used the phrase 'lost highway'. I mentioned to Barry that I just loved this title, 'Lost Highway' and that we should write something together.
(Barry Gifford wrote Sailor and Lula - the basis for Wild at Heart)


I woke up one morning and the intercom rang, and a man says, 'Dave!' and I said, 'Yeah,' and he says, 'Dick Lauraunt is dead.' And I said, 'What?' And there was no one there. ...I don't know who Dick Lauraunt is. All I do know is he's dead!

 
 
The Natural Way
14:49 / 25.04.02
Not sure about the tapes always representing repressed memories - is any of that orgy stuff objectively real?
 
 
The Return Of Rothkoid
15:01 / 25.04.02
Runce; never mind. Half-asleep reading.

Um, I still think the Cerberus thing holds. Given that the wife's already dead at the start of the film, and that all the lines at that point are incredibly stilted and slow, the mention of the dog has to mean something; I'm hooking it into being an indicator of hell. I don't think it's overreading.
 
 
videodrome
15:05 / 25.04.02
Do you have an idea for another meaning of the tapes?

And by the 'orgy stuff' do you mean the Mr. Eddy 'tryout' scene, or the scenes where they're watching porn, etc? Doesn't really matter - none of it is objectively real. It's all filtered through Fred, and I take most of it as his fears/fantasies about what Renee was doing. There's no way to know if any of it really happened, and it really doesn't matter. The emotional impact is the thing. If Fred thinks it happened, then it did, because his mind is all we've got to go on. Mr. Eddy/Dick Lauraunt may be noone at all, just a better lay than Fred, but Fred makes him into a demon, because that makes his own action more signifigant. He's freed Renee, and killed (maybe?) a crime kingpin.
 
 
The Natural Way
15:05 / 25.04.02
Maybe. Ummm, regardless, I like it.
 
 
videodrome
15:07 / 25.04.02
Oh yeah - the dog.

I've always wondered if it's not harking back to Lynch's 'Angriest Dog In The World' strip, which was always a kind of expression of suppressed rage and inability to meaningfully act/interact.

I also think that Lynch realizes that animal sounds are just a good, disconcerting part of the sound collage. If nothing else, that barking dog sets my goddamned teeth on edge.
 
  

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