demon night

Lucas 2022-04-21 09:01:47

The home of a jazz musician and his wife has been receiving anonymous tapes of their daily lives. One morning, he was put on death row when a videotape recorded a musician dismembering his wife. Then, the plot took a sharp turn, like a nightmare alternating between reality and dream. The musician turns into a repairman, dates a porn star who looks exactly like his wife, then kills her lover and her boss with the mysterious, spooky old man, before running away on the highway. Of course, the pale old man with no eyebrows disappeared in the end. In fact, he was a devil with anxiety and fear of Cui Sheng.

The plot is broken up and reassembled fragments, strange video tapes, pornographic girlfriends, mysterious old man at a strange party, the unknown words behind the doorbell, the burning wooden house in the dark desert, a hotel called Lost Highway, constantly. Forgotten past, homicide, sex, violence, anxiety, psychological compensation, personality structure, David Lynch seems to know Freudian psychoanalysis well. From it, two movies related to psychology were derived, Mulholland Road and Yaoye Panic. Mulholland Road watched it first, and after reading it, I found Freud's introduction on the Internet to get a general idea. The director played everything skillfully, and repeated these theories with his film.

Like most of his films, it's spooky and avant-garde, with dark and gorgeous tones, and the plot is chaotic enough that you can only imagine the general veins when you regroup after watching all the content. It feels like deciphering a code, obscure, dismantling, reorganizing, and prepositioning. The film is always easy to drive people crazy, leaving room for speculation and imagination, and it is a little more interesting when you finish watching it. The Mulholland Drive I watched earlier also felt good, about dreams, wish fulfillment, dream modification, impressions, id and ego. This is David Lynch's follow-up to Lost Highway.

I also watched The Elephant Man recently, which is probably the least personal style of his films. Winning with the plot is different from his other works, at least I am still difficult to be moved.

It can be seen that the two films of David Lynch are highly respected for Freud. The beginning and end of the film are also very unique. An inexplicable voice behind the doorbell tells that someone is dead, but looking around, there is no one outside the sunny door. When the film is about to end, the musician goes home and presses it. The doorbell, repeating the sentence at the beginning, repeating the same scene over and over again, like a long-established ending in reality.

A very talented director, besides being a filmmaker, he is also a painter and musician. Can you imagine it?

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Extended Reading
  • Graham 2021-11-15 08:01:26

    The maintenance worker was highly regarded by the underworld boss because of his excellent car repairing skills. At this time, he discovered that the boss’s woman looked exactly the same as his wife, but the hair color was different. The eldest woman took the initiative to seduce the maintenance worker, and the two absconded with the money. When they came to the desert road, the maintenance worker had crazy sex with the woman, and then he became a musician again

  • Loren 2021-11-15 08:01:26

    It’s because the film is too esoteric, so I don’t know what it’s talking about.

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]