Category: Reviews

After finding success with 1980's The Elephant Man, director David Lynch was contemplating what to make next. He met with producer Richard Roth to discuss a screenplay called Ronnie Rocket, which Roth passed due to its abstractness. Still intrigued, Roth asked Lynch for other ideas, and Lynch talked about voyeurism, severed ears, and a Bobby Vinton song. After working and reworking the script, Lynch had trouble finding a studio due to the violent nature of the story. On top of that, 1984's Dune was such a critical and commercial failure that producers actively avoided Lynch. Thankfully, producer Dino De Laurentiis saw potential and agreed to offer a $6 million budget and total artistic freedom. Filming lasted from August to November 1985 in Wilmington, North Carolina, with a cast of relatively unknown actors. After premiering at the Montréal World Film Festival, Blue Velvet hit theater screens in September 1986.

Rating

Synopsis

After his dad suffers a stroke, college student Jeffrey Beaumont (Kyle MacLachlan) comes home to help his family. While walking home from the hospital, Jeffrey finds a severed ear and takes it to Detective Williams (George Dickerson). Jeffrey meets Williams's daughter Sandy (Laura Dern), who tells him the ear may relate to a local lounge singer. After seeing a performance by the singer Dorothy Vallens (Isabella Rossellini), Jeffrey becomes intrigued and sneaks into her apartment. Unfortunately, this act of voyeurism leads him to the psychotic Frank Booth (Dennis Hopper), who tortures and abuses Dorothy. Jeffrey develops a sadomasochistic relationship with Dorothy through this connection while also fostering a romance with Sandy. As he continues going down the rabbit hole, Jeffrey discovers a grand conspiracy involving drug dealers, corrupt cops, and kidnapping. How far is Jeffrey willing to go to solve this mystery, and will he do the right thing?

Review

Blue Velvet is one of the most beautifully crafted yet viscerally raw films ever made, and that says a lot. Every shot feels so fine-tuned and exact that you can imagine what David Lynch was thinking. You feel like you're peeking into Lynch's brain and seeing what lies inside like Jeffrey uncovering the secret underworld. This film subverts the image of suburban America and explores film noir conventions, including the femme fatale and flawed hero. Dorothy is a complex woman but isn't manipulative, while Jeffrey is the good guy but isn't without flaws. The tone goes from horrifying to humorous in a way that feels like whiplash, but Lynch makes it work. You get the sense that Lynch is challenging how you see things, much like Jeffrey's changing worldview. Admittedly, the heavy-handed symbolism can appear pretentious, but the film still works as a gripping thriller.

Kyle MacLachlan excels as the complex yet endearing hero navigating the dark world he discovers. Witnessing his transformation from a shy college student to a shattered man is captivating, and MacLachlan embodies this change brilliantly. Isabella Rossellini shines as Dorothy Vallens, a stunning woman ensnared by darkness, longing for escape. Meanwhile, Laura Dern impresses as Sandy Williams, a naive young woman who offers a ray of hope to Jeffrey. Dennis Hopper delivers arguably the finest performance of his career as the twisted Frank Booth, one of cinema's greatest villains. He oscillates between humor and charm, then shifts to madness and terror, making him wholly unpredictable. The supporting cast also shines, featuring talents like Hope Lange, Priscilla Pointer, Frances Bay, Brad Dourif, and Jack Nance. Even Dean Stockwell makes the most of his one scene, memorably lip-synching a Roy Orbison song.

Like many of David Lynch's films, this one has mixed opinions - some love it, while others hate it. The subject is dark and uncomfortable, and the weird tonal changes can be off-putting to some viewers. However, if you're willing to take in everything on screen for what it is, you'll find a thought-provoking and well-made movie. Frederick Elmes' cinematography is gorgeous and haunting, while Angelo Badalamenti's beautiful score seamlessly transitions from romantic to horrifying. Some might scoff at the slow pacing, but it purposefully adds a false sense of security before the shocking scenes. At around two hours long, the movie never overstays its welcome or feels like it's dragging to the end. If you've never seen a David Lynch movie and want an introduction, I'd recommend this as a starting point. Overall, Blue Velvet deserves its status as an American thriller classic and is arguably David Lynch's best film.

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