Highlights: The sound design, as always, conjoins with precisely conceived physical spaces to create a dimensionality found only in Lynch; the sections in the gorgeous Hollywood tomb-home offer sublime space/sound. Steep dilutions: Lazy nu-metal/industrial lacquered-on doom-aura and music-vid audiovisuals should be left to the much lesser David F.; they ill-fit the much odder and much finer sensibility of David L.
Ich habe gar nichts gegen mysteriöse Filme, nur wünschte ich, der Regisseur würde dabei den Überblick behalten. Ich wünschte, er hätte eine Absicht, eine Idee! Lynch immerhin das Talent, uns alle mit leerer Luft in Atem zu halten. (Dazu haben wir für euch eine Film List der 90s postmoderne zusammengestellt auf der Empfehlungsseite unserer Videothek cinegeek.de
Inspired in part by Edgar Ulmer’s Detour (a B movie from 1945 about an unlucky jazz musician who kills a couple of grifters and remembers both killings as freak accidents,) but really stemming from Lynch’s own hallucinations, nightmares, and fascination with Hollywood murders old and new, Lost Highway is Lynch’s first great film about his adopted home town. He’s lived there longer than he’s lived anywhere else.
I think Lynch's visionary side is the comforting ingredient in Lost Highway. After a brilliant, captivating and deeply haunting start the film totally looses consistency for me - Balthazar Getty seems definitely miscast and his character ends up looking quite plain and uninteresting. I feel like the second part the story lacked something, maybe some charm and rhythm. I wished the atmosphere didn't shift that much.
Lynch deliberately weakens our sense of control until we become obedient and submissive to his subversive surrealism. He has a different language, his symbolic and he juggles with the obscene. Every close up it's one step to understand this man that bursts when meditating on consciousness. He's the Devil himself ladies and gentleman. His the wrath of God.