A surreal puzzle movie about guilt and delusion, as well as a deceptively sly critique of film noir, porno, and other male fantasies/nightmares. In retrospect, it's a dry-run for Mulholland Dr., where we also see the reflection of the story instead of the story itself. But even though it's intelligent, it's a lot less soulful than MD. Sidenote: isn't it funny that film noir cliches are now less dated than 90s music?
I really enjoyed this film. Not as tight as BLUE VELVET or MULHOLLAND DR, but this movie was captivating and features some of my favorite Lynchian motifs. I like the use of psychogenic fugue in this movie, and found that LOST HIGHWAY explored male sexual anxiety in a fresh way. Slavoj Zizek's bit about this film in PERVERT'S GUIDE is interesting, and worth watching as an accompaniment.
This is definitely the film that got me into Lynch's cinema. I had seen Blue Velvet when I was probably too young. The split in Lost Highway was a point of no return. When lights go out, I just let myself get immersed. Even if it's my subconscious, or my emotional self that are learning and being fed. Even if consciously there is a gap. From that point on, I was even more able to allow myself to dream, awake.
ESTRADA PERDIDA, um dos melhores filmes de um dos melhores realizadores contemporâneos, David Lynch, passa esta segunda-feira, dia 23, no Espaço Nimas em mais uma sessão do ciclo "Cinema Clássico". A sessão começa às 19h15 e tem o preço único de 4€. TODOS AO NIMAS!
This was very surreal and weird in that true Lynch style but it didn't quite 'grab' me nearly as much as Mulholland Dr. or Inland Empire. Still it's a solid 4 and like all of his surreal films need to be re watched multiple times. Also Robert Blake is soooo creepy!
One of the best high speed shots when Patricia Arquette gets out of the Cadillac and the fluros are slightly off shutter and that rockabilly tune plays. Perfectly photographed, timed, a beautiful woman in slo mo. I can't get this and the slo mo shot from Casino Royale with Ursula Andress and the Dusty Springfield tune and Peter Sellers can't believe where he's at out of my head.
Some years have passed since I last saw LH. Yesterday I've managed to watch it again. Now that I've absorbed a ton of film noir, I wonder if the desert house is a reference to "Kiss Me Deadly"? Well, I'm no interpretation expert, just wondering anyway. And that first encounter with the Mystery Man at the party is still - IMHO - one of the creepiest moments in cinema ever.