lost highway: the hybridization and transcendence of genre films

Brandy 2022-04-21 09:01:47

This movie is really interesting. At first I thought it was a road movie, after one minute I thought it was a life movie, after five minutes I thought it was a thriller, then I found out that it was a noir movie, and there are a lot of erotic scenes, watch It was only in the end that I realized that it was a surrealist film... My god, this old monster is really strong.

Starting from the way of independent American production, it is not difficult to find that this type of hybrid shows a comprehensive transcendence, using familiar routines and bridges to cut in, but using other methods to elevate the type. A mix of thriller, erotica, and film noir is still the norm, but in David Lynch's case, his outrageous approach to storytelling gives the story its most captivating style. Surrealism breaks the chronological and causal chain, non-stop flash forward is one way, and the videotape of Fred killing his wife as the reason for killing his wife is another way, and Fred can't explain about the killing. The Wife's Nightmare breaks the timeline method and provides the content of psychoanalysis. And in the cell, Fred suddenly became Pete, and then the femme fatale that Pete met was so similar to Fred's wife, only to find out that this blond woman named Alice didn't exist at all, in the wilderness The inn does not exist, and Pete's memories that do not belong to him are also unknown, and many plots such as murder and nightmares are even more so, so the relationship between Fred and Pete can only be explained by soul possession. In the final segment, Pete arrives at Fred's door and speaks words that are exactly what Fred heard at the beginning of the film: Dick Larante is dead. Then time goes back to the beginning. At this time, I think of "Before the rain" and "Lola rennt": the end of the story is the beginning of the story, and in the torrent of time we realize that linearity is not the only way of storytelling. Under this surreal logic, time has become a way for David Lynch to play tricks. There are three ways of interpretation. One is David Lynch's personal stylized and logical processing of time as an art film director; the other is to read the film as a subconscious existence. David Lynch The discussion is about the irrationality and illogicality of the subconscious. Time is the most unreliable thing in human memory, especially at the subconscious level; the third is to read the film as a science fiction film, David Lynch It tells a story about parallel universes, and the relationship between Pete and Fred, and the relationship between Renee and Alice are wonderful overlaps that span parallel universes. Looking at it for yourself, it seems to be the second idea that is closer to the director.

Returning to the film itself, Fred's murder of his wife directly points to the famous Simpson wife murder case. In the end, we found that the film has become a projection of a social reality in the reality of the film, and this disordered concept of time and subconscious writing leads to an exploration of the reality of the world. For specific film analysis, please refer to this article. I think it is very well written: Lost on the Highway of David Lynch - Guessing the "Demon Night Panic"

Finally, when it comes to the subconscious, the best way to cut into it is the second The interpretation of film semiotics, that is, the starting method of the psychoanalytic school. After I finish reading "The Interpretation of Dreams"... After reading so many books on secondary semiotics, I still find that I have to read Freud... Resentment...

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Extended Reading
  • Everett 2022-04-23 07:01:44

    The opening and ending song is similar to that of a beast's claw. (Could it be that Yuasa Masaki is a fan of David Lynch)

  • Stefan 2022-03-26 09:01:04

    Although I probably understand the basic elements of the mystery of Lynch's film review, this film is as difficult to understand as Mulholland Drive. The double overlap of dream and reality is killing people's nerves.

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]