Recognizing this, it’s neither fair nor unfair to call Wild At Heart uneven. On the other hand, they might constitute moments of inspired genius. Freeman), a man who seems to have as many lowlife assassins in his pocket as a kid has action figures.Īfter reading Lynch on Lynch, a series of interviews with the director by Chris Rodley, you become convinced that Lynch is not above taking the occassional excursion away from the script and imagining, “What if this happened to the characters right here?” The problem (and I’m not sure you can really call it a “ problem”) is that these excursions can cause the film to lose focus. And while she’s at it, maybe she could hire someone else to make sure Sailor sails off to the everafter, perhaps someone like the merciless Marcelles Santos (J.E. The only possible, honorable thing for Marietta to do is to hire a detective (Harry Dean Stanton, above left) to find Lula. But Marietta not only hates Sailor, but hates that her daughter loves him. After his lover Lula Pace Fortune (Laura Dern) picks him up, they decide to drive as far away from Lula’s controlling mother Marietta Fortune (Diane Ladd, Dern’s real-life mother, above right) as possible. The gist of the story is fairly straightforward: Sailor Ripley (Nicolas Cage) has just been released from prison. The darker side of life in Blue Velvet is just as prevalent in Wild At Heart, and with more room to breathe. Wild At Heart could be thought of as an extension of Blue Velvet: at its core, Wild At Heart is about a relationship (or relationships, perhaps), set not within the confines of a small town, as with Blue Velvet, but in the wide open vastness of a road picture.
Of course no labels can adequately convey what Lynch is doing with this film, which Roger Ebert describes as “lurid melodrama, soap opera, exploitation, put-on and self-satire,” all of which is pretty much on-target.
It’s never a good idea to try to label a David Lynch film as any one thing, but if you were to call Blue Velvet a noir mystery (two things), I think you’d have to call Wild At Heart a romantic fantasy. K and I watched Blue Velvet back in April and after nearly a six-month hiatus, we’re back. While my friend K and I have been working on our David Lynch project, it seems as if each film is preparing us for the next one. PolyGram Filmed Entertainment, Propaganda Films
Screenplay by David Lynch, based on the novel by Barry Gifford Produced by Steve Golin, Michael Kuhn, Month Montgomery, Sigurjon Sighvatsson
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