"Lost Highway" (Romantic mystery, color, R, 2:15)
By Todd McCarthy, Daily Variety Chief Film Critic
HOLLYWOOD (Variety) - "Lost Highway" is a mysterious, ultra-Lynchian exercise
in Designer Noir.
The cult filmmaker's first feature in more than four years sees him traversing
familiar roads involving weird crimes, bizarre sex, sometimes freakish
characters, societal unease and fully warranted paranoia with characteristic
stylistic panache and daring.
Although uneven and too deliberately obscure in meaning to be entirely
satisfying, result remains sufficiently intriguing and startling to bring
many of Lynch's old fans back on board for this careening ride, adding up to
decent returns on the specialized circuit and possibly better figures in
select overseas markets. Pic debuted in Paris this week in advance of
Thursday's Sundance unveiling.
A director as reliant upon precise style and tone as Lynch more or less has
to hit the bull's-eye to score at all; if his aim is even slightly off the
mark, his effects tend to fall flat. Here, there is a notable disparity
between the numerous knockout sequences, passages loaded with disquieting
moods, sinister intent and sudden eruptions of violence, and scenes of
borderline banality. On balance, the former outweigh the latter, and the film
does intensify and deepen as it progresses, but there remains a nagging sense
of a work not quite completely achieved.
Pic starts in high gear with a classic credits sequence of names blasting
across the wide screen as the rolling camera hugs the center of the road at
night. In a city very much resembling Los Angeles but never specified as
such, tenor sax player Fred Madison (Bill Pullman) and his wife Renee
(Patricia Arquette) see their life destroyed through a deeply disturbing
series of events.
Over a period of time that comes perilously close to being boring onscreen,
they find ominous videotapes dropped at their door. The first merely shows
their house. The second depicts the couple in bed. The third, coming some 40
minutes into the picture, reveals their bedroom as a murder scene. With
brutal suddenness, Fred is convicted of first degree murder and sentenced to
die in the electric chair.
In his very old-fashioned-looking prison cell, Fred is afflicted by tormented
visions. Then, in the film's great jump into the unexplainable, a young man
named Pete (Balthazar Getty) is suddenly occupying Fred's cell, only to
emerge and take up his work as a garage mechanic in the employ of a
wheelchair-bound boss, Arnie (Richard Pryor).
Abandoning the initial plot to take off in a new direction, action picks up
with Pete doing some jobs for a gangster named Mr. Eddy (Robert Loggia) and
ill-advisedly taking up with the rich man's girlfriend, Alice (Arquette, back
now as a bleach blonde). A member of the porno underworld with an abundant
supply of seedy friends, Alice leads Pete astray in classic femme fatale
fashion with inducements to commit crime and deception until an eerie
nocturnal confrontation at a cabin on a beach brings the film's two story
strands full circle, after a fashion.
The narrative strategies of Lynch and co-screenwriter Barry Gifford, who
penned the novel "Wild at Heart" that Lynch adapted for his 1990 feature,
combine with key casting decisions to create intentional mysteries for which
there are no answers. When Pullman's Fred transforms into Getty's Pete, one
is left to ponder whether or not these are two versions of the same man. And
using Arquette in the two principal female roles automatically raises the
questions of the fate of the first woman and the identities of both of them.
Beyond these factors, the most alarming element here is an insinuating man
who resembles a malevolent clown (Robert Blake). First turning up at a party
in the first half, this little creep announces to Fred that, appearances to
the contrary, he is actually in Fred's home at that very moment, and proves
it with a phone call to the house that he, the creep, answers. Not
surprisingly, the diminutive character materializes again late in the game,
to purposely ambiguous, but still skin-crawling, effect.
None of this stuff can be explicated rationally, making this a dream-film
that will leave its partisans strenuously attempting to puzzle out its
mysteries and non-fans out in the cold. In the Lynch canon, it stands
squarely in the middle, not up to the summits represented by "Blue Velvet" or
the best of "Twin Peaks" but decidedly superior to "Fire Walk With Me" and
"Dune."
Dramatically, film verges on the lethargic at times, but stylistically there
is no mistaking this for the work of any other director. Lynch's visionary,
impressionistic approach to the deep, murky and vile recesses of the psyche
and imagination is again boldly on display, as is his talent for putting
memorable images on the bigscreen in concert with extraordinary sounds.
Lynch's own audio design has been intricately devised, and the soundtrack,
which combines the efforts of longtime Lynch collaborator Angelo Badalamenti
and additional composer Barry Adamson with some dynamite contributions by
David Bowie and Brian Eno, Nine Inch Nails, Rammstein, Trent Reznor, Smashing
Pumpkins and others, should enjoy a prosperous life of its own on disc.
With the exception of the blustery Loggia, performances tend toward the
low-key. Getty's relatively uninflected turn as an unexceptional young man
led into deep water by a sexpot (virtually an extension of his brief role in
"Natural Born Killers") comes off best, as Pullman and Arquette register in
just OK fashion.
As usual in Lynch's carefully crafted pictures, all technical contributions,
notably the artful lensing of Peter Deming and production design by Patricia
Norris, are aces.
Fred Madison ................................ Bill Pullman
Renee Madison/Alice Wakefield .... Patricia Arquette
Pete Dayton .................................. Balthazar Getty
Mystery Man .................................. Robert Blake
Sheila ............................................ Natasha Gregson Wagner
Arnie .............................................. Richard Pryor
Marian ........................................... Lisa Boyle
Andy .............................................. Michael Massee
Phil ................................................ Jack Nance
Guard Johnny Mack ...................... Jack Kehler
Guard Henry ................................. Henry Rollins
Warden Clements ......................... Gene Ross
Teddy ........................................... Scott Coffey
Bill Dayton .................................... Gary Busey
Mr. Eddy-Dick Laurent .................. Robert Loggia
Al .................................................. John Roselius
Ed ................................................. Lou Eppolito
An October Films release of a Ciby 2000 presentation of a Ciby
2000-Asymetrical production. Produced by Deepak Nayar, Tom Sternberg, Mary
Sweeney.
Directed by David Lynch. Screenplay, Lynch, Barry Gifford. Camera (CFI color,
Panavision widescreen), Peter Deming; editor, Mary Sweeney; music, Angelo
Badalamenti; additional music, Barry Adamson; production design, Patricia
Norris; set decoration, Leslie Morales; sound (Dolby digital), Susumu
Tokunow; sound design, Lynch; assistant director, Scott Cameron; casting,
Johanna Ray, Elaine J. Huzzar. Reviewed at New Line Cinema screening room,
L.A., Nov. 20, 1996.