|Director: David Lynch|
|Screenplay: David Lynch|
|Stars: Kyle MacLachlan (Jeffrey Beaumont), Isabella Rossellini (Dorothy Vallens), Dennis Hopper (Frank Booth), Laura Dern (Sandy Williams), Hope Lange (Mrs. Williams), Dean Stockwell (Ben), George Dickerson (Detective Williams), Priscilla Pointer (Mrs. Beaumont), Frances Bay (Aunt Barbara), Jack Harvey (Mr. Beaumont), Ken Stovitz (Mike), Brad Dourif (Raymond), Jack Nance (Paul), J. Michael Hunter (Hunter), Dick Green (Don Vallens)|
|MPAA Rating: R|
|Year of Release: 1986|
It made Roger Ebert of The Chicago Sun-Times angry, and he denounced it as “sadistic” and “marred by sophomoric satire and cheap shots.” The New Yorker’s Pauline Kael, who was amazed by it, called it “the work of a genius naïf.” British author J.G. Ballard declared it the best film of the 1980s, while American critic John Simon wondered why so many laurels were being bestowed on what he considered “a piece of mindless junk.” When the National Society of Film Critics compiled an anthology in 1992 “on the most hotly debated movie controversies,” no one was surprised that it was the first entry. Most audiences didn’t like it at first and critics were befuddled by it, but the one thing that was never in doubt was that David Lynch’s Blue Velvet was an original—shocking, perverse, funny, unsettling, scathing, biting, and twisted, but undeniably original. Even those who hated it had to concede that it was unlike anything else out there.
Set in the fictional northwestern town of Lumberton, which seems perpetually stuck in time (the clothing and architecture is all Eisenhower era, and even the cars don’t get newer than the early 1970s), Lynch’s odyssey into the moral and psychological decay hiding beneath the seemingly placid surface of small-town Americana jangled nerves and challenged even the most jaded of moviegoers when it debuted 25 years ago. Lynch had already made his name with Eraserhead (1978), his years-in-the-making surrealist oddity that became a midnight smash sensation and led to Paramount hiring him to direct The Elephant Man (1980), which won him mainstream acclaim and Oscar nominations. He had most recently completed Dune (1984), an ill-fated, big-budget adaptation of Frank Herbert’s science fiction opus produced by Italian mega-producer Dino De Laurentiis, which had already devoured the combined efforts of Alejandro Jodorowsky, H.R. Giger, and Pink Floyd a decade earlier. The film’s box office failure and critical pounding might have sunk the career of a lesser artist, but Lynch persevered, turning back to his independent roots with Blue Velvet, a film he had been developing on paper for the better part of a decade (and which De Laurentiis had to fund due to the deal he made with Lynch to direct Dune).
Part of the film’s effectiveness is the way it takes familiar classical movie conventions, whether it be Hitchcockian voyeurism or the Capraesque charms of main street, and either turns them inside out or turns them against the audience. Every moviegoer is an inherent voyeur, a fact that Lynch not only recognizes, but exploits, and your response to the film (love it or hate it) will derive primarily from whether you feel used and abused by Lynch or exhilarated by his daring. Watching Blue Velvet is like being at the center of an elaborate practical joke: At the end you’re either mad for having been made a victim or you’re laughing with astonishment at how effectively the prankster got the best of you.
The protagonist, Jeffrey Beaumont, is played by Kyle MacLachlan, who looks not a bit unlike Lynch with tamed hair and had previously worked with the director on Dune (in fact, many members of the cast had also appeared in Dune, including Dean Stockwell and Brad Dourif). Jeffrey is a student who has taken time off from college and returned to Lumberton after his father suffered a heart attack. While walking through a field between his house and the hospital, he finds a severed ear lying in the grass, a discovery that will propel him into his hometown’s barely hidden world of crime, sadomasochistic perversion, and violence. For Lynch, the ear is like a portal, and he moves his camera all the way into its darkness until we come out the other side, a kind of twisted variation on Dorothy not being in Kansas anymore. Jeffrey is, of course, still in Lumberton, but as he begins his own investigation into the mystery of the ear, he finds himself being drawn deeper and deeper into a netherworld that begins literally right around the corner.
With the help of Sandy Williams (Laura Dern), the golden-haired, high school-age daughter of a local police detective (George Dickerson), Jeffrey sneaks into the apartment of Dorothy Vallens (Isabella Rossellini), a sultry night club singer who the police suspect is somehow involved with the case. Once inside, Jeffrey learns that Dorothy, far from being the dark-eyed femme fatale she at first seems, is actually the frail, rather pitiable victim of Frank Booth (Dennis Hopper), a sadistic, gas-huffing bully who may have kidnapped her husband and young son and is using her as a sexual slave (his fetishes stretch across the board, from wailing about “Mommy” and “Daddy” to stuffing the edges of Dorothy’s blue velvet robe into both his mouth and hers). Jeffrey is drawn to Dorothy and her to him, setting up a masochistic love triangle in which the eager young man is caught between two worlds represented by Sandy and Dorothy, two very different women.
But are they so different? One of the tricks to Blue Velvet’s perversity is the way in which it subverts all forms of comfortable normality; its exists entirely in its own surreal fantasy world and only intermittently tricks us into thinking we’re watching something “real” (which is why complaints about elements of the film not making logical sense make no sense themselves). Even though Jeffrey and Sandy seem like well-scrubbed, clean-cut, good ol’ fashioned American kids, their curiosity betrays something much darker and more unnerving at their core. The idea of kids investigating mysteries that adults are incapable of solving is a staple of young adult fiction, from The Hardy Boys, to Nancy Drew, to Tintin, and Lynch uses our comfort with the conceit to push at boundaries, turning Jeffrey into a voyeur who hides in Dorothy’s closet and, once caught, can only say that he wanted to “see her.” He genuinely desires to solve the mystery, but more importantly, he wants to “see” all that has previously been hidden to him, which ultimately involves more than he bargained for. Sandy is really no different, even though Lynch presents her as a pragmatic counterbalance to Jeffrey’s overeager voyeuristic desires. Nevertheless, she ultimately goes along with all of his plans and is always willing to hear the gory details. And, let us not forget how Lynch first presents her: emerging from the pitch black outside her father’s home like a spirit or an illusion.
Blue Velvet is ultimately all about illusions and delusions. The film’s most famous sequence is its first, which begins with stark, beautiful images of flowers against a white picket fence, a red fire engine driving along a leafy street, and children safely crossing the road to school. Because these images are presented with such intensity of color and the slightly distancing element of slow motion, they are immediately suspect, especially with Bobby Vinton’s 1964 hit recording of the gloomy titular pop song playing over them. Thus, it is less a shock than a natural development that these seemingly idyllic images give way first to Jeffrey’s father’s heart attack (in the yard while watering), and then to an extended tracking shot into the yard that burrows beneath the well-trimmed grass and finds a symbolic underworld of gnashing beetles and insects. This is the film’s most obvious symbolic moment, but it is also full of little nods to our culture’s unsavory desires, especially the recurring images of televisions tuned to old film noir. In this sense, Blue Velvet is not so much about the hidden violence and masochism beneath the surface of Norman Rockwell idealism, but rather how that violence is constantly bubbling to the surface and we are only deluding ourselves about its secrecy. In Lynch’s worldview, it is everywhere and in everyone; hence, any viewer discomfort with the film is not about being offended by something external, but rather about being unnerved by the recognition of our own heart of darkness. As Jeffrey keeps intoning, “It’s a strange world.”
|Blue Velvet Criterion Collection Blu-ray|
|Audio||English DTS-HD Master Audio 2.0 surround English DTS-HD Master Audio 5.1 surround|
|Supplements||The Lost Footage, 53 minutes of deleted scenes and alternate takes assembled by LynchBlue Velve Revisited making of documentaryMysteries of Love (2002) making-of documentaryInterview from 2017 with composer Angelo BadalamentiIt’s a Strange World: The Filming of Blue Velvet (2019) restrospective documentaryLynch reading from Room to Dream, a 2018 book he coauthored with Kristine McKennaExcerpts by McKenna from Room to Dream Test Chart|
|Distributor||The Criterion Collection|
|Release Date||May 21, 2019|
|Blue Velvet has always been a challenging presentation on video because it is such a dark, murky film. Much of it takes place in dimly lit rooms, hallways, and outside at night, often with little hard contrast to delineate objects and action. Criterion’s new 4K digital transfer was made from the original 35mm A/B camera negative, and it is the first new transfer since MGM’s 2011 Blu-ray. Like that disc, the image benefits substantially from the increased resolution, with the darker scenes really showing levels of detail and nuance in even the blackest portions of the frame. The more brightly lit scenes, especially that infamous opening, are brilliant in their clarity, with gorgeous color saturation and hues. Compared to the MGM Blu-ray, Criterion’s image is overall slightly brighter and some of the color hues are a tad different, but given that Lynch is listed as one of the transfer supervisors, we have to imagine that this is as close to the intended look as we are going to get. Unlike the MGM Blu-ray, Criterion’s disc offers both a 5.1-channel surround mix (the same one that was made under Lynch’s supervision back in 2008) and the original two-channel surround mix, both in lossless DTS-HD Master Audio. The 5.1 surround track does an admirable job of expanding the stereo mix without pushing the limits. The images in Blue Velvet are so scandalous that we often forget how effective the soundtrack is, whether it be the crooning of Bobby Vinton over the opening images, Angelo Badalamenti’s lush orchestrations, or the subtle manipulations of natural sounds that create a decidedly otherworldly effect. The surround channels are used effectively to immerse us in the action, sometimes subtly and sometimes overtly (when the camera descends into the yard and finds all the fighting beetles, it sounds like your living room is being devoured).|
The supplements are a broad mix of the old and the new. The Lost Footage contains the same 53 minutes of deleted scenes and alternate takes assembled by Lynch that appeared on MGM’s 2011 Blu-ray. All of this footage was cut from Lynch’s original three-hour version of the film, and it had been presumed lost for years until it was discovered sitting in a warehouse in Seattle. New to this edition is “It’s a Strange World: The Filming of Blue Velvet,” a 15-minute retrospective documentary about the film’s production that includes interviews with on-set props master Shaw Burney, make-up supervisor Jeff Goodwin, second assistant director Ian Woolf, Blue Velvet Revisited director Peter Braatz, extras and additional casting director Mark Fincannon, casting production assistant David Hartley, actor Fred Pickler (Yellow Man), and Steadicam operator Dan Kneece. Several of the interviewees return to locations where the film was shot, including the field where Jeffrey finds the ear and the alley and stairwell outside Dorothy’s apartment. We also get a new 16-minute interview with composer Angelo Badalamenti and 18 minutes of audio recording of Lynch reading from Room to Dream, an autobiography he coauthored with Kristine McKenna (a lengthy excerpt from the book is also reprinted in the insert . One of the most interesting inclusions is Blue Velvet Revisited, an 89-minute “meditation” on the film’s production by German filmmaker Peter Braatz, who was invited to the location shooting in Wilmington, North Carolina, by Lynch. The film stitches together Super 8mm footage, photographs, and audio recordings. From the previous MGM DVDs and Blu-ray we have Mysteries of Love, an 8-part, 70-minute retrospective documentary from 2002 that features then-new interviews with actors Kyle MacLachlan, Isabella Rossellini, and Laura Dern, producer Fred Caruso, and cinematographer Frederick Elmes, among others, along with numerous older interviews with Lynch. Criterion has also added a minute-long “Test Chart,” which features footage from the production of the film for grayscale balance.
Copyright © 2019 James Kendrick
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