Cyclonus
09-27-2002, 06:15 PM
Blue Velvet (1986)
Director: David Lynch
Cast: Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, Laura Dern, Dean Stockwell, George Dickerson, Hope Lange, Priscilla Pointer
Screenwriter: David Lynch
Producer: Fred Caruso
A De Laurentiis Entertainment release
http://images.amazon.com/images/P/0792844793.01.MZZZZZZZ.jpg
Blue Velvet is sure to polarize audiences, even more than fifteen years after it first came out. Not a shred of its potency has faded--it's just as wrenching and powerful as it's ever been. It doesn't matter if you regard it is a masterpiece or as pornography (and both sides made equally vehement arguments), it simply refuses to be ignored or forgotten. Roger Ebert panned the film, and has recently stated that he still stands behind his initial assessment. Any work that can produce such strong feelings after so many years is certainly worthy of consideration. In any case, its proponents seem to have won the argument; the film has withstood the test of time. It never seems the least bit dated in any scene. Repeated viewings only confirm its effect.
In the film's central set piece, a woman is raped by the sadistic drug dealer Frank, aptly played by Dennis Hopper. This upsetting scene made many people angry; some even went so far as to accuse it of exploitation. This is a purely knee-slap response. Anyone who can look at the film in an objective light will see that there is no glamorization of rape. David Lynch doesn't make it exciting; he makes it painful and ugly, as it is. The worst part is that people like Frank Booth really do exist, although most of us are fortunate not to cross paths with such individuals. He is more a symbol than a character, the personification of every evil, vile thing spawned by humanity. Hopper is commanding in the role, with a performance that cannot be done justice with the English language.
The next best performance belongs to Isabella Rossellini as the brutalized victim. Few performers would accept such a difficult role, and even fewer would successfully pull it off. Kyle MacLachalan is somewhat bland, but this characteristic actually works in his favor. It's a matter of contrast--the bland suburban world with the dark criminal underbelly. This contrast is exemplified during the aforementioned rape scene, as well as another odd part, which seems right out of a John Waters movie. The juxtaposition is jarring and bewildering, compelling us to identify with the protagonist. Perhaps Laura Dern is a bit annoying, but that was probably intentional, part of the film's theme of contrasting the banal with the horrific. It doesn't hurt that she is only present when absolutely necessary. Dean Stockwell and George Dickerson add excellent support as other players on both side of the conflict. Brad Dourif has a cameo as one of the henchmen.
Blue Velvet can be viewed on many levels: as an "art flick," a crime thriller, a coming-of-age parable, or even a very, very dark satire. Regardless of how you perceive it, there is a common theme weaving its way throughout the film: the loss of innocence. Jeffery has never dreamed that such terrible things exist, but he is given a rude awakening in the most disconcerting possible manner. The personal and moral consequences of his curious inquiries will no doubt haunt him for the remainder of his existence.
8/10.
Director: David Lynch
Cast: Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, Laura Dern, Dean Stockwell, George Dickerson, Hope Lange, Priscilla Pointer
Screenwriter: David Lynch
Producer: Fred Caruso
A De Laurentiis Entertainment release
http://images.amazon.com/images/P/0792844793.01.MZZZZZZZ.jpg
Blue Velvet is sure to polarize audiences, even more than fifteen years after it first came out. Not a shred of its potency has faded--it's just as wrenching and powerful as it's ever been. It doesn't matter if you regard it is a masterpiece or as pornography (and both sides made equally vehement arguments), it simply refuses to be ignored or forgotten. Roger Ebert panned the film, and has recently stated that he still stands behind his initial assessment. Any work that can produce such strong feelings after so many years is certainly worthy of consideration. In any case, its proponents seem to have won the argument; the film has withstood the test of time. It never seems the least bit dated in any scene. Repeated viewings only confirm its effect.
In the film's central set piece, a woman is raped by the sadistic drug dealer Frank, aptly played by Dennis Hopper. This upsetting scene made many people angry; some even went so far as to accuse it of exploitation. This is a purely knee-slap response. Anyone who can look at the film in an objective light will see that there is no glamorization of rape. David Lynch doesn't make it exciting; he makes it painful and ugly, as it is. The worst part is that people like Frank Booth really do exist, although most of us are fortunate not to cross paths with such individuals. He is more a symbol than a character, the personification of every evil, vile thing spawned by humanity. Hopper is commanding in the role, with a performance that cannot be done justice with the English language.
The next best performance belongs to Isabella Rossellini as the brutalized victim. Few performers would accept such a difficult role, and even fewer would successfully pull it off. Kyle MacLachalan is somewhat bland, but this characteristic actually works in his favor. It's a matter of contrast--the bland suburban world with the dark criminal underbelly. This contrast is exemplified during the aforementioned rape scene, as well as another odd part, which seems right out of a John Waters movie. The juxtaposition is jarring and bewildering, compelling us to identify with the protagonist. Perhaps Laura Dern is a bit annoying, but that was probably intentional, part of the film's theme of contrasting the banal with the horrific. It doesn't hurt that she is only present when absolutely necessary. Dean Stockwell and George Dickerson add excellent support as other players on both side of the conflict. Brad Dourif has a cameo as one of the henchmen.
Blue Velvet can be viewed on many levels: as an "art flick," a crime thriller, a coming-of-age parable, or even a very, very dark satire. Regardless of how you perceive it, there is a common theme weaving its way throughout the film: the loss of innocence. Jeffery has never dreamed that such terrible things exist, but he is given a rude awakening in the most disconcerting possible manner. The personal and moral consequences of his curious inquiries will no doubt haunt him for the remainder of his existence.
8/10.