David Lynch’s Blue Velvet is a film about that which is hidden, that which lurks beneath the fair and exciting surfaces of our lives. When the layers are peeled back and the raw material of humanity is revealed, the combination of beauty and ugliness is distressing. By using film noir elements and a standard hero mystery set-up, Lynch’s 1986 movie explores the substance of humankind in what the director and writer considers his most personal piece.
Blue Velvet began to plant itself in Lynch’s mind as early as 1973, with formations of the basic sense gathering in his consciousness. He spent two years writing two drafts, but wasn’t overly impressed with either one. Lynch has said that the two drafts had all of the spitefulness of the film, but nothing else. The final piece, therefore, contains an appropriate and alluring combination of ugliness and amiability, formulating a marvelous tone that would grow to become a David Lynch trademark.
Kyle MacLachlan stars as Jeffrey Beaumont, a young man who returns home from college after his father suffers a stroke. After visiting him in the hospital, Jeffrey comes across a human ear in a vacant lot and, being the good ol’ boy he is, takes it to the police.
Detective John Williams (George Dickerson) takes on the case and, after talking the case over at Detective Williams’ house, Jeffrey meets Sandy Williams (Laura Dern). Sensing Jeffrey’s curiosity, Sandy tells him what she has heard about the ear and a suspicious woman, Dorothy Vallens (Isabella Rossellini), who may be connected to the strange situation.
Not content to simply wonder about the ear and Dorothy Vallens, Jeffrey concocts a plan to sneak into her apartment and observe her. Sandy wonders if Jeffrey is simply being a pervert or if he has other motivations, but she assists him nevertheless. In the apartment, Jeffrey is caught by Dorothy, who becomes aroused by the young man’s voyeurism. Before their encounter can go any further, they are interrupted by Frank Booth (Dennis Hopper) and Jeffrey hides in the closet.
Lynch operates things brilliantly, constantly upping the ante and increasing the amount of anxiety. The arrival of Booth notches up the sexual tension and turns things suddenly brutal, as he inflicts cruelty on Dorothy. Jeffrey soon discovers that things are much more complicated than he ever thought possible and is thrust into the world of crime, drugs, and sociopathic behaviour. For a host of reasons, Jeffrey becomes drawn to Dorothy and is eager to save her. At the same time, he falls in love with Sandy.
Article comments
1 - Brandy
Interesting in depth look at a somewhat neglected classic. The film is disturbing yet moving, ethereal yet earthy, and profound.
Reading this I wonder where is Isabella Rossellini these days? It's a bit sobering that she was Lynch's inamorata during filming. The scene at the end, where she is covered in bruises!
Nice historical context, including Ebert's comments at the time the film was released. I love the line in your next to last paragraph, "Perhaps to remind us that nothing is all that blameless." Love that whole paragraph too. The music really is a character of its own. Nicely written!
2 - Jordan Richardson
Thank you for the kind words.
I found Ebert's comments interesting, especially given the fact that he seemed to really feel disturbed by the film and its treatment of Rossellini. I went over to the Ebert and Roeper website and found the Siskel and Ebert review of the picture. It's interesting to watch Siskel argue with Ebert about the film, as Gene really enjoyed it and made a great case for it.
As for Rossellini, she's still out there. She's done a bit of TV work and tends to take supporting roles. She's in James Gray's Two Lovers, which comes out in the United States in January 2009 and also stars Joaquin Phoenix and Gwyneth Paltrow.
Totally agree with you on the scene at the end; it's absolutely staggering.
Thanks again. It's a truly incredible film.