David Lynch's 1986 Blue Velvet (re-release) • reviewsphere

With a filmography spanning over fifty years, David Lynch is widely known as one of Hollywood’s most controversial and unconventional film makers. From films like Eraserhead and Mulholland Drive to his cult TV series Twin Peaks, Lynch has always provided his viewers with a deeper look into the chilling underbelly of American Society. Though in many respects it’s 1986 film “Blue Velvet” that over thirty years on still stands out as his best cinematic accomplishment. The film encompasses best exactly what Lynch is all about as a filmmaker, showcasing well both his artistic vision and his unique and unpredictable storytelling.

Blue Velvet follows Jeffrey Beaumont (Kyle McLachlan) a college student who has returned home to his mundane American daydream of neat flower beds and well-kept lawns in order to be with his ill father. Taking a short cut home from the hospital, Jeffrey staggers across a severed human ear in a nearby field and his deepest and darkest curiosities are awakened. Intrigued by the discovery, he seeks the help of the “good girl” next door Sandy Williams (Laura Dern), the daughter of the town’s local police chief. Together they begin an investigation into a mysterious lounge singer called Dorothy Valens (Isabella Rossellini).

Jeffery and Sandy’s impromptu inquest starts off as a fun teen movie, but as the pair begin to piece together more and more about Dorothy’s life, it is not long until they are too dragged into the dark and dangerous criminal underworld hiding behind their seemingly perfect suburban town. As Jeffery becomes increasingly involved in a criminal conspiracy he is forced to question where his real intentions lie, as he begins an impassioned sexual relationship with Dorothy, the very subject of his investigation.

Throughout, Blue Velvet is steeped in surreal psychological horror, packed with strange, wacky dialogue and electrifying musical numbers. While the film is narratively coherent with an engrossing plot pulling you in from the off, like all Lynch’s work, the story is however secondary. It takes a backseat, while Lynch looks to explore the deeper and darker meaning of the American Dream as well as the hidden undercurrents of the human psyche. It is no surprise either that, in the years since its initial realease, Blue Velvet has been often cited as a “Neo-Noir”. Throughout Lynch’s career, he has been heavily influenced by the genre of noir and this influence shines through in Blue Velvet not only in its narrative but in its cinematography and in its twists.

Of course, a film like Blue Velvet would not have been able to gain such cultural and critical success without good performances and it certainly provides plenty of those. Kyle McLachlan is terrific in his depiction of Jeffery, helping get across the sheer oddness of the character. In many ways his performances brings to mind that of Dustin Hoffman’s in the Graduate. Laura Dern also thrives as Sandy with a wonderful inquisitive gaze. She acutely demonstrates the character’s purity and loving nature. As the film’s main Femme-Fatale, Isabella Rossellini gives a truly heart-breaking performance as Dorothy, bringing depth to the role and really making us feel the characters helplessness. Yet in a film full of big characters it is the truly menacing performance of Dennis Hopper as the films main villain ‘Frank’ that steals the show. Playing perhaps one of cinema’s most terrifying creations. Hopper is truly wild as Frank, making the role completely his own, going from rage to laughter, from venomous to virtuous in a matter of seconds. His performance is truly unhinged.

Over the last thirty years Blue Velvet has been remastered and released in many forms and this latest remastering as part of the Edinburgh International Film Festival’s special event strand does not disappoint. The quality of this latest remastering is quite spectacular and seeing the film on the big screen really helps celebrate its cultural significance. Blue Velvet is cinema in its purest form, subversive, thought provoking and disturbing. It really gets under the skin.