In 1986 David Lynch created his most concise and iconic film, Blue Velvet. A modern noir and a pervert’s detective story, it offers the most succinct iterations of the themes that have spanned his career. His first film with the coveted “final cut” clause (under De Laurentiis Entertainment Group), Blue Velvet is distilled Lynch – a textural ride into our subconscious where dark desires hide from the light of day. “It’s a strange world,” is the perfect mantra for this psychosexual masterpiece.
Blue Velvet is one of David Lynch’s most accessible films for those new to his work. Perhaps more balanced and commercial than any of his other movies, the film offers a striking blend of high school innocence and psychotic despair (embodied by the two female leads). The seeds planted by Blue Velvet blossomed into the cult television hit Twin Peaks by Lynch and Mark Frost, and both projects continue to influence popular culture from American Beauty to AMC’s The Killing. Other projects from Lynch feel much darker and esoteric. While I can watch Lynch’s films just about any time, I can confidently say that Lost Highway is not the best movie for a first date.
It’s obvious that mystery is what turns Lynch’s crank, and protagonist Jeffery Beaumont (Kyle MacLachlan) is the perfect surrogate for the auteur. Jeffery is an amazing blend of gee-whiz Hardy Boy and torrid voyeur. Mild-mannered, geeky, and friendless in his hometown, he is drawn irresistibly into the deep river of mystery just below the surface of his familiar world. It’s his compulsion toward the unknown that drives Jeffery. Lynch uses him as a key to our restrained impulses; we find ourselves drawn into the act of observation, afraid of how deep and dark our own desires go.
Dennis Hopper creates one of the most terrible villains in film history whose erratic and drug-induced violence shows us just how dark things can get. Frank’s twisted sexual behavior leaves us feeling gutted, but his emotional vulnerability to Roy Orbison’s “In Dreams” adds such a specific and bizarre dimension to his evil that we’re drawn into his mania even as we fear it. When Frank commandeers Jeffery for a wicked joyride, he leers at Jeffery in the back seat, and at us through Jeffery’s POV, and says, “You’re like me.” It’s chilling because we recognize Jeffery’s perversion as a faint reflection of Frank’s, as well as our own desire to look into the darkness of Blue Velvet.
Familiar themes of light and dark, love and fear, order and chaos, are set in motion in the first scene of the picture. Fifties-era white-picket fences and manicured lawns give way to a dizzying horror of bugs crawling and scratching the dirt. The iconic severed ear is a perfect symbol for Lynch’s work, acknowledging the senses before diving through perception to Something Else. And it’s his unique ability to show us that Something Else that distinguishes Lynch as one of the most important artists in the medium.
The 1080p video looks amazing. The digital transfer was supervised by David Lynch, as was the previous Special Edition DVD, which looked pretty good. But the Blu-ray edition blows the doors off the DVD. It’s unclear whether the bump in quality is from the resolution alone, or if they’ve carefully recolored and timed the whole movie, but the HD version captures much more of the original film look with beautiful fidelity. The dark scenes have depth and the colours are resplendent. I detected only a slight trace of noise in a few shots.
What impressed me even more than the picture was the sound. From the start of his career, Lynch has understood that video and sound are two equally important halves of filmmaking. One reason his films are so absorbing is because of his emphatic attention to sound design. From Eraserhead to Inland Empire, Lynch’s meticulous sound work builds the environment around the characters, forming a fuller sensory world than traditional filmmakers. Layering room tones, distant machinery, wind, humming lights, and musical score, he fleshes out the mood of each moment, bringing us more in touch with the psychology of the character.
One of the disappointing things about the old DVD version was the sound. Obviously a lot of time had been spent trying to manicure the soundtrack, but I believe the digital technology just wasn’t capable of delivering a satisfying product at the time. Background noise in the dialogue wasn’t blended properly with the ambience of the scenes, and so the dialogue seemed haloed with a subtle hiss. This may simply have been the result of bad compression. But the Blu-ray edition has fixed this impressively.
I marveled throughout the movie at how clearly I could make out subtleties in the quiet moments. Particularly with the sultry voice of Dorothy Vallens (Isabella Rossellini), the dynamic range of the soundtrack really shows off the depth of the original recordings. As both a cinephile and an audiophile, I can’t stress enough how important the sound is to the movie-watching experience, and I think this fact alone is reason enough to buy the Blu-ray edition. Even if you’ve only recently bought the DVD version, as I have, it’s well worth it (until the next jump in technology takes place later this afternoon).
The Blu-ray edition offers great special features as well. Over fifty minutes of deleted scenes have been found and beautifully restored in HD for fans who can’t get enough. Previously seen as only a “Deleted Scene Montage” of stills on the DVD, fans will enjoy Frances Bay’s comic timing, a hilarious jazz stand-up routine, and a gorgeous, electric scene with Jeffery and Dorothy on the roof of her apartment. A smattering of outtakes and vignettes only leaves us wanting more, but the “Mysteries of Love” documentary (previously on the DVD) bulks up the package.
Twenty-six years after its original release, Blue Velvet is still as fresh, shocking, and cool as ever. This Blu-ray release is as satisfying as I could have hoped. Not only are the video and sound leagues better than any previous version since the actual celluloid, but the restored deleted scenes make this the definitive version to own.
P.S. For a more plot-oriented review of this product, El Bicho has written a good one.Powered by Sidelines