See also David Lynch - "Lost Highway"

Madie 2022-04-19 09:01:43

After experiencing "Mulholland Drive", I have a basic understanding of David Lynch's psychoanalysis. It's exciting to analyze "Miscellaneous" in the same way. How can a director who knows Freud so well and uses film to represent the state of the human mind (especially the aberrations) in the closest possible state to its original state, pays homage?

"Mystery" also uses hallucinations (dreams) embedded in reality as narrative clues. It mainly describes the mental state of the protagonist Fred before and after killing his wife and the cheater because of his wife cheating. The film is full of suspense, and it is confusing at first glance, but after analysis, it shows the mental state that each of us will have.

The id and superego in the "three selves"

Freud believes that human beings are composed of id, ego, and superego in their spirit. In the film, David Lynch uses specific character symbols to express the id and superego in the protagonist's "three selves".

I - the white-faced old man. In the film, Fred's desire for revenge inspired by his wife's cheating is shown, that is, its dark side. The white-faced old man appears in several of Fred's real-life scenes. Fred was at the reception of his wife's friend Andy, and after Fred discovered that his wife had a relationship with Andy, during the conversation with Fred, the white-faced old man said that he was invited by Fred; in the process of Fred killing the cheater, the white-faced old man handed over the The knife is given to Fred, and finally disappears (fusion). Both scenes inspire Fred's dark side (i.e., the id), which David embodies with the white-faced old man.

Superego - two detectives. The superego appears in the part of the film where dreams are presented. The two detectives have been monitoring Fred's mutation in the dream - the car repair boy Peter, and monitoring the mutation of Peter and Fred's wife - Alice's tryst. Freud believes that dreams are wishes in the form of being fulfilled, and Fred's wish is to get revenge on his wife, and one of the revenge mentalities that everyone has is to do the same to the victim. Peter, the mutated protagonist in the dream, had an affair with Alice. But Fred's superego thinks this is wrong, so a police detective appears in the dream and gives "supervision". Interestingly, David designed a set of detective dialogues. Detective Lou: "This is really not done by humans." Detective Hank: "He or us?" Detective Lou: "We, Hank." The dialogue reveals David's suspicion of the superego, questioning the role of the superego. positivity.

The core meaning field of the film (exploration of human spirit) is fully combined with the surface meaning field and the deep meaning field. Light and shadow transformation, blurred focus, and inverted mirrors are used appropriately. Mirrors, exploding wooden houses, and video tapes are full of symbolic meanings. It provides a good horizontal foundation for the depth display of the film. This shows that director David's skills are profound.

PS: If you are confused about the film, you can go to other film reviews first, or learn about psychoanalysis. There are still many details in the film that are worthy of the audience to savor carefully, and we cannot list them all in detail.

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Extended Reading
  • Harley 2022-03-26 09:01:04

    "The Wild Trail" is another starting point for David Lynch, who tells a story, but it can also be said to be two stories, or even no story, their boundaries are so clear and so blurred; similarly, reality The same is true for the boundary between the world and the imaginary world. The ghost of the imaginary world is realised and disturbs the real world, making the real world illusory, inheriting David Lynch's past preferences, which is also a deceived and seduced.

  • Connor 2022-04-24 07:01:05

    Ten normal people can't answer a question asked by a fool. If this "fool" could make a movie, it's probably his name - David Lynch

Lost Highway quotes

  • [Pete, disturbed by the saxophone music on a radio, switches the channels]

    Phil: What'd you change it for? I liked that.

    Pete Dayton: Well, I don't!

    Phil: I liked that.

  • Bill Dayton: The police called us today.

    Pete Dayton: What'd they want?

    Bill Dayton: They wanted to know if we had a chance to find out what happened to you the other night. And they wanted to know if you remembered anything.

    Pete Dayton: But... I don't remember anything. What'd you tell them?

    Bill Dayton: [after a long pause] We're not going to say anything about that night to the police.

    Candace Dayton: We saw you that night, Pete.

    Bill Dayton: You came home with your friend, Sheila.

    Pete Dayton: Sheila?

    Bill Dayton: Uh-huh. There was a man with you two.

    Pete Dayton: What is this? Why didn't you tell me anything? Who was the man?

    Bill Dayton: I've never seen him before in my life.

    Pete Dayton: What happened to me? Please Dad, if you know, tell me.

    [Bill and Candace sorrowfully look away from Pete]