Tuesday, January 21, 2025

Blue Velvet - "Yes, That's a Human Ear, All Right."

David Lynch had been on my mind before his recent death. The Blank Check podcast recently covered him, so I had watched his entire filmography, including Twin Peaks and a lot of short films. Lynch’s work tends to stick with you, but watching so much of it in such quick succession made me think about what kind of Lynch fan I was. 


Usually, when I watch an entire series or filmography, I’ll just post a ranking of it all. But with Lynch, I couldn’t bring myself to do it. Not only was I not sure if I should include Twin Peaks (and how could it not be at the top of the list just for the sheer insanity of The Return?), it just didn’t make sense to rank his films because, depending on my mood, his films would shift wildly in ranking. 


But my when my brother asked what my favorite Lynch film was over the weekend, I had no problem picking Blue Velvet. I might have a couple controversial thoughts about Lynch’s films, like preferring Lost Highway over Mulholland Drive or placing Wild at Heart near the top of my favorites, but I can never shake one basic ass opinion about his work: Blue Velvet is his masterpiece.


Sure, plenty of people have favorites over Blue Velvet, but it seems like the consensus pick as the film that cemented him as one of the greatest filmmakers of all time. I enjoy Blue Velvet much more than just as a symbol of Lynch’s greatness. I find it to be the perfect mix of straightforward narrative and Lynchian oddness.


I enjoy all of Lynch’s work, but when it comes to his straightforward films (The Elephant Man, The Straight Story) I always wish they were a little weirder, and I wish his unhinged stuff (Inland Empire, Mulholland Drive, a lot of The Return) made just a little more sense. A few of his movies strike this middle ground, like Wild at Heart, Dune, and Fire Walk with Me, but Blue Velvet is easily my favorite. 


First off, the theme is simple but timeless: under the veneer of a picturesque small town in America, complete with picket fences and smiling firemen, lies a dark, evil underworld. This isn’t a unique idea, as America’s image and history has been a juxtaposition in art since the country’s inception. But it perfectly encapsulates Lynch as a person. He’s always described as this nice, normal Midwestern guy, yet he’s fascinated with the dark dreams of the subconscious. With Blue Velvet (and with a lot of Twin Peaks), Lynch gets to have his all-American clichés but also his American monsters.


Beyond that, Blue Velvet sticks with me because of the characters. You have the contrast between Dorothy and Sandy and Jeffrey and Frank. These seemingly polar opposites can somehow exist in the same small town, showing that maybe they’re not all that different. 


The fun of it is watching these characters portray these extremes, especially in Jeffrey and Frank. Jeffrey’s over-the-top “good boy” shit cracks me up throughout the film. He tries to be helpful to the local police, he muses on “the king of beers,” and he’s just a general dork. And Frank is pure rage. Yes, he’s horrifying, but there are moments that will always make me laugh, like his love of Pabst Blue Ribbon, his sucker punch to Jeffrey at Ben’s place, and some of his lines to his lackeys (“No, I want you to fuck it!”). 


The “joy ride” Frank takes Jeffrey and Dorothy on is one of my favorite sequences of all time. The car ride itself might be one of the most terrifying rides ever, and the trip to Ben’s place is amazing. I’d be happy with Dean Stockwell’s lip-synching alone as Frank seems to struggle to keep his head from exploding, but all the other weird shit is great. Just who are all these people in the apartment? Ben’s general look is fantastic. And Stockwell adds so much with his odd little quirks, like alternating between looking asleep and being wide-eyed seemingly for no reason. It’s easily the most surreal moment in the film, but there’s still enough plot going on (the drug talk, the kidnapped child being hidden away, etc.) that it doesn’t feel like it’s just thrown in there to add some weirdness to the film.


Unhinged Lynch can be great, but this restrained version which felt the need to keep things narratively together is my favorite because it makes it easier to revisit the film, which is why Blue Velvet is easily the most rewatchable film, for me. I have to be in the right mood to put on Lost Highway or Eraserhead, but I could watch Blue Velvet no matter how I felt. 


The story is easy enough to follow, but it’s the overall look and feel of the film, and the many moments that I love that keep me coming back. The score and soundtrack perfectly capture the theme of the film, and the classic Lynch look, especially at Dorothy’s apartment, create a feeling of unease without being showy. It’s a beautiful dark world that I would never mind entering through a severed ear. 


All my claims of a simple narrative can be argued, of course, as there are plenty of fascinating theories about the film and its undertones. I like digging into that stuff, and I’ve watched plenty of YouTube videos about the film and disappeared down dozens of reddit rabbit holes, but that isn’t required to enjoy this film, but that kind of research is necessary (at least for my dumbass) for something like Mulholland Drive, even if I think I kind of know what’s going on. My favorite films have always been ones that can be delved into but also enjoyed on a surface level. 


Lynch’s work is largely focused on dreams, and that can be applied to Blue Velvet with its descent into the ear, the use of “In Dreams” by Roy Orbison, Sandy’s blatant talk about dreams and what robins represent, and the overly happy, to the point of being suspicious, ending. It’s always interesting to consider what’s real and what isn’t in a Lynch film, but when he keeps things on the edge where anything could be dream or reality, it makes things much more enjoyable. Sandy’s dad’s odd reaction to Jeffrey’s grisly discovery of “Yes, that’s a human ear, all right” seems like it could be from a dream because it’s so matter-of-fact for something so shocking. But maybe he’s just a very structured cop to the point of seeming robotic. Either way, that is a human ear, all right, and Blue Velvet is a perfectly odd and normal movie at the same time. 




Random Thoughts


You know how it is: you stop to throw a few rocks at an old shed and, while looking for a good one, you find an ear instead. Happens all the fucking time.


God, I love the music in this, both score and soundtrack. It’s all perfect.


“Yes, that’s a human ear, all right.”


The dude just standing there with his dog always creeped me out. That’s the kind of shit I love about Lynch. “Instead of Kale just walking alone, let’s have a weird fat guy wearing sunglasses standing there with a dog!”


Jeffrey is such a stereotypical “good guy” it’s hilarious.


Laura Dern emerging from total darkness is one of my favorite cinematic entrances for a character.


Not to get into theories since many others have already covered everything better than I ever could, but the whole Lincoln assassination stuff is pretty interesting. Lincoln Street is bad news. Frank Booth. Well, that’s kind of it. But it’s still interesting.


Dorothy’s apartment building always reminds me of the apartments from Silent Hill.


“Ah. The king of beers.” Jeffrey seems upset that Sandy’s dad doesn’t drink Heineken, but this line is like an assurance that it’s only because it’s Bud. How could Heineken stand a chance against the king of beers?


“I don’t know if you’re a detective or a pervert.” Definitely a pervert. A Heineken-swilling perv.


Frank doesn’t show up until forty-three minutes, but he’s shot out of a fucking cannon.


The first time I became aware of this movie was seeing it in the video store when I was probably twelve or so. I remember seeing Hopper on the back hitting the nitrate, and thought, “This is probably too much for me right now.” And I was right. It was good that I waited a few more years for this.


What the fuck is hanging on Jeffrey’s wall? Every time I watch this, I end up Googling it and finding, of course, no answer aside from, “That’s Lynch for you!” 


Sandy: “How’d it go?”

“Well…”


“And the robins represented love.” It’s truly wild, looking back over his entire filmography, that Lynch has a character say anything represents anything, even when discussing a dream. But that encapsulates what I love about this one. It’s the perfect blend of traditional narrative and Lynchian oddness.


“See that clock on the wall?”

“Yeah.”

“Five minutes from now, you’re not going to believe what I’ve told you.” Oh, fuck off, Jeffrey.


Sitting between Brad Dourif and Jack Nance (who keeps calling him a pussy), with a crazed Dennis Hopper driving has to be one of the most terrifying car rides of all time.


Ben lives above or next to a bar simply called “This Is It.” Great bar name.


Of course, Ben is a suave fucker. Who else wears a ruffled shirt and cummerbund just hanging out at the house?


“Do you want me to pour it?”

“No, I want you to fuck it!”

In Frank’s defense, that was a dumbfuck question for Dourif to ask.


That random punch to Jeffrey when he doesn’t automatically join in with the “Here’s to Ben” toast makes me laugh every time.


Dourif: “Hey, David, I feel like I should be doing something during the ‘In Dreams’ part.”

Lynch: “Okay, Brad, take this snake and dance around or something.”


I think this was the first non-Quantum Leap role I saw Dean Stockwell portray. Definitely exposed me to his range as an actor.


Imagine how stupid I felt after years of thinking “I’ll fuck anything that moves” was primarily a Jay quote from Clerks.


Say what you will about Frank, but the man is a music lover.



It’s so fucking funny when the floozy from Ben’s just instinctively climbs on top of the car to dance to “In Dreams.”


“He put his disease in me.” 

“Dorothy, ix-nay on the isease-dey.”


“Sandy, I should really go with her to the hospital. Like she said, I did put my disease in her, so this is partly my fault.”


Monday, January 13, 2025

Top Ten of 2024

This is my least favorite post each year. First off, it’s impossible to watch everything, so I always feel like I’m missing something when I make my list. Second, I feel like I need to justify my list, even though hardly anyone reads it anyway. With that in mind, I decided to change things up a little this year. I’ll still have my completely subjective Top Ten, but my reasoning will be blissfully short for each film. And for the ton of other movies I want to acknowledge beyond a simple “Honorable Mention,” I have created a handful of other categories explaining what kept them from my top films this year. Some will have a little blurb added, and some will simply be listed. I’m just going with my gut this year because none of this matters, but I watched a bunch of movies in a very short time last year, and I need to document that. So here you go:


1. A Complete Unknown


I’m a Bob Dylan fan, and this captured what I love about his music. Of all the films released this year, this is the only one I can imagine rewatching and/or putting on in the background for years to come just to be in the world of the movie for a bit.


2. Nosferatu


Robert Eggers is my kind of filmmaker. The sequence at Orlock’s castle is an all-timer.


3. The Substance


Such a fun, wild ride. I thought a rewatch would diminish it, especially the ending, but I enjoyed it even more the second time around.


4. The Brutalist


I have a bad feeling that Brody is going to swoop in and steal the Oscar from Chalamet just like he did from Day-Lewis over twenty years ago. Still, I can’t deny how much this movie stuck with me. The score put it over the top for me; the reveal of the upside down Statue of Liberty coupled with the bombastic score is one of my favorite cinematic moments of the year.


5. Thelma


The surprise of the year for me. It had me crying, then laughing less than a minute later. This is one of those movies I cannot imagine anyone having a negative opinion of. Sure, some, like me, will like it more than others, but I can’t understand anyone hating it. I can’t say that about any other film in this post…


6. Civil War


…which brings me to Civil War. Yup, this one worked for me simply as a film about documenting modern warfare. Upon a rewatch, I still found many moments incredibly tense. Add some nice needle drops and beautiful destruction, and I’m all in.


7. Nickel Boys


At first glance, I thought this was just going to be one of those “serious” films about some terrible stuff that’s good, but not effective. I couldn’t be more wrong. Some dislike the POV style, but that’s precisely what made this film work for me. Because of that style, there are multiple haunting moments that have stayed with me weeks after first watching this.


8. In a Violent Nature


A few years ago, this wouldn’t have hit me all that hard. But recently I’ve embraced the slasher genre, and this felt like the perfect love letter to fans without getting gimmicky or too goofy.


9. Saturday Night


I usually hate this type of movie: a story told in hectic real time while too many impossibly chaotic and witty things happen to be believable. But, much like SNL itself, it somehow came together. And I don’t even hold those first years in high regard beyond respecting what they started. It made me laugh, and I never rolled my eyes.


10. The Bikeriders


Every year there’s a movie that is just a hang out movie for me that I want to put on to just be around the characters for a couple hours, and this it it.



Movies I need to watch again:


The Fall Guy

Longlegs

Deadpool and Wolverine

Love Lies Bleeding

Furiosa: A Mad Max Saga


I liked all of these movies, and there’s a good chance that if I revisited this year…uh…years from now, some or all of these could supplant other films. But something hasn’t clicked yet with these. Either I need some more time with it (Fall Guy), or I need to confirm the insanity was great (Bleeding), or I need to see if the fun survives another rewatch (Deadpool and Wolverine), or I need to feel the actual desire to watch it all the way through again (Furiosa), or maybe the greatness of it somehow missed me (Longlegs). Whatever the reason, these haven’t hit me yet.


Movies I liked, but wished I loved:


Gladiator II

Dune: Part Two

Anora

Hundreds of Beavers

Kinds of Kindness

Alien: Romulus

Horizon: An American Saga - Chapter 1

Godzilla x Kong: The New Empire

Late Night with the Devil


This is the saddest category. In general, I want to love what I watch. I’ve never been someone who watches movies just to shit on them. I want my time to be enjoyable. And these films were enjoyable (some more than others), but I wanted to be consumed by them. Dune: Part Two probably came the closest, but I think I just want that to be one really long movie. Godzilla was fun, especially since my son is into it, but compared to Minus One, it just seems a little too insignificant. Horizon’s ridiculous title is everything that is wrong with that one, but I still want to see everything Costner has planned. Alien was just too into the past, though it’s still an amazing experience. You get the idea. 


Movies that are great, but I don’t plan on watching ever again:


Memoir of a Snail

Aattam

Mars Express

Sing Sing

A Real Pain

Conclave

A Different Man

His Three Daughters

I Saw the TV Glow

Rebel Ridge

Inside Out 2

Challengers

Sasquatch Sunset


These are the movies that make me hate making a list. It’s hard for me to come up with anything wrong with any of them, but being able to enjoy a film over and over again is important to me, and while all of these were special in their own way, I don’t want to experience them a second time. Although not watching at least part of Inside Out 2 again in my house is probably an impossibility.


Movies that everyone seemed to hate, but I thought were okay:


Joker: Folie á Duex

Borderlands

Here (The Zemeckis One)

Transformers One


This is my favorite category because of my aforementioned wish to love everything I watch. To be fair, I didn’t love any of these movies, but I was pleasantly surprised by all of them. With Joker, I wasn’t a big fan of the first one, so I kind of dug the direction it took; it’s still an unnecessary film, but I certainly found it more interesting than the first one. Borderlands is more of a missed opportunity choice. I enjoyed the wacky sci-fi world created for the film, but the rest of it, from the casting to the action, fell a bit flat. I think Roth might’ve had a very entertaining movie in his head at some point, but it got twisted into what it is now through studio meddling. Here is Zemeckis and Hanks trying to recreate the sappiness of Forrest Gump through de-aging and nostalgia. While the de-aging stuff bugs me, I’m a sucker for the nostalgia stuff, especially watching a family through the years as I raise my own children and watch how things change over time. It’s nothing special, but I do think people are too quick to shit on Zemeckis films these days. And finally, Transformers One. This is just here because my son liked it enough that he wanted to watch it a second time instead of seeing a new movie this past fall. As for me, it was all right, but I prefer the live action Transformers movies, even when they get all batshit crazy. 


So that’s that: proof that I watched a bunch of shit last year, and I plan on doing it again this year. Thanks for reading.