What a fantastic movie!

What a fantastic movie!

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(You) are fantastic user

...

LETS FUCK
ILL FUCK ANYTHING THAT MOVES

Why are there people like Frank? Why is there so much trouble in the world?

I don't know.

>The names are actually in the right order.
Bravo Lynch.

Indeed

hopper's performance made this movie

Rewatched it again a few days ago. Frank had some great dialogue. Dennis Hopper was fantastic in this movie. Dorothy's apartment had great aesthetics, too. The film it was shot on complimented it so well.

The Robin will eat the bugs in the end

vaguely relevant

>torrenting anything in 480p

Definitely one of the best Lynch movies, if not the best.
The closet scene is incredibly iconic, if slightly Hitchcockian

LET'S DRINK TO FUCKING

HERE'S TO YOUR FUCK

So what's the deal with this flick, dude sex abuse lmao?

BLUUUUUUUE OOOOO OOOOOO VELVEET
WAHOO
BLUER THAN THE NIGHT WERE HER EYES

Wt are you trying to say w/ image? Obv this BR looks amazing compared to shitty VHS, is it that people still download the VHS copy or something?

Baby wants to fuck

FUCK FUCK FUCK FUCKER FUCK FUCKER FUCK

>tfw a retard near me claims that it was just a dream and/or that movie is shit because of that

It just does everything so well. The 4 characters main characters are all fully realised, the neo-noir struggles of Jeffrey encapsulates the theme of the dark underside of society (something which Twin Peaks didn't quite do as well), the soundtrack is great, and the movie really gets an emotional response out of you.
I don't know about anyone else, but it's one of the few films were I actually thought there was danger - the threat was palpable, and you felt fear for Jeffrey.

>the threat was palpable, and you felt fear for Jeffrey
That's because the main antagonist was basically the kino version of Joker and Jeffrey is pretty much powerless.

Saw it at the cinema this year.
Didn't really like it as I was watching but it stuck with me. I'm thinking about it often. It's very well constructed but it's better in hindsight than as I was watching it.

One of Lynch's most accessible films while also having that distinct "Lynchien" style, and therefore arguably his best.

His best is Mulholland Drive

Never understood Hopper's character

Have you rewatched it? I hold it in really high regard, but maybe I'm the same as you - it stuck with me, rather than thinking it was brilliant at the time.
Was Kyle actually naked there? You can see his dick.
Why do you prefer it to Lost Highway, Laura Harring aside?

Your gif is literally the weirdest thing in the movie

I prefer Blue Velvet though MD is certainly great. Just don't find lesbians interesting mainly

i think it's the first officially "Lynchian" film while Eraserhead, which came first, was a more traditional type of surrealism

pic related, the shot that changed cinema forever

H E I N E K E N

i feel like that post is horribly written

sorry, english is not my native tongue

I thought the same the first time I saw it. Rewatched it a while later and it blew my mind. Actually watched it again a few days ago and it was even better. Don't know how but this movie gets better each watch. Give it a rewatch when you're feeling a movie with it's kind of pace.

>You can see his dick
>Was Kyle actually naked
Well, put two and two together

>tfw you will never sneak into an abused woman's home, get caught, and then fuck her consensually.

Why do you say it changed cinema.
Speaking of changing cinema - how controversial was Blue Velvet? I always read about it being controversial, especially when it comes to what you should be able to subject actors to in a non-exploitation/porn role, but I've never seen it on any controversial lists.

Lynch's earlier films were more like Lynchian qualities painted on an already grounded genre canvass. Blue Velvet had a neo-noir canvas, Wild at Heart was a road film like Badlands, and Eraserhead was a surrealist film. The Lynchian qualities just blend with the already surrealist qualities in Eraserhead.

You're like me.

I liked reading that exchange of an interviewer with Lynch about this shot.

>Did you make that robin for the movie?

>No, it's actually a real robin we filmed.

>But it looks so fake!

>Well, it is playing a role.

>find a 15 year old actor
>cast him in a critically panned blockbuster that you despise yourself
>say you'll make it up to him, by casting him in a new 'personal' film you've been thinking of for years
>it's a dark psycho-sexual thriller featuring a man high on drugs who yells "BABY WANTS TO FUCK" as he dry-humps a woman
>make the boy get forcibly stripped at knife point, and have him run around butt naked
What did Lynch mean by this?

i was watching an interview with Frank Zappa today, about the PMRC and all that shit, and a woman mentioned Dennis Hopper's character on Blue Velvet

>In dreams, I walk with you
>In dreams, I talk to you
>In dreams, you're mine

That scene was instantly burned into my memory. Bravo Lynch

>>find a 15 year old actor
what

Don't forget making him do the chicken walk

>Why do you prefer it to Lost Highway
Lost Highway is goofier and didn't emotionally resound with me as much

Call him daddy shit head

>one of the few explicitly gay characters in lynch's work
>he's a drugged-up rapist who's holding the kid and husband hostage for frank in return for drugs and is part of the dark underbelly of the town
What message did Lynch hope to send with this? Is him being gay just a coincidence?

but is it though? in Mulholland Dr. the camera pans into a pillow, is kinda obvious (not really the first time i saw it) that it means it is all a dream, the first part i mean

in Blue Velvet the camera pans into the ear, we enter the ear, i try to wrap my head around it but i don't know what it means, maybe it's all a cuckold fantasy inside Dorothy's husband's head, i mean, we see her getting beat up and fucked and spied while naked

maybe that Frank's type of sociopathy wasn't strictly contained to masculinity or heterosexuality. that there is the potential for that type of behavior in every type of person

Don't be a good neighbor to her, I'll send you a love letter straight from my heart. Do you know what a love letter is, its a bullet from a gun fucker you get a love letter from me and you're fucked forever

The robin at the end was made to look intentionally artificial. Really changed my perspective of the film

I always thought he was some kind of entity like the pale cowboy

...

>d0uge jonse

>explicitly gay
nah, he's just fucking suave

Based

What does it mean? That goodness is artificial? Or that dreams are the only "pure" things?

>you're like me
I think this is the most revelatory quote of the main theme behind most of Lynch's work

The primal evil lurking inside human hearts

i think it's fake, Lynch always liked to fuck with people, he never revealed how he made the baby in Eraserhead, he gave 10 clues about mulholland drive that were completely deceiving and he even said Lost Highway has no meaning, which i doubt very much, he just hated when people asked about the meaning of his movies

God DAMN he was suave.

>he gave 10 clues about mulholland drive that were completely deceiving

were they really?
fuck

What were the clues?

>Or that dreams are the only "pure" things?

Pretty much this I suppose

I think it is fake - rumors say that the prop designer used a real dead robin as the shell for the moving parts (yuck). Maybe that only adds to the meaning, ha.

mulholland-drive.net/studies/10clues.htm

read interviews, Lynch fucking despised when he was asked about MEANING, here are the clues (which are obviously retarded and vague) and the analysis people made, just like the stuff with The Shining, it demonstrates that if the audience truly wants to find a meaning, they're gonna find it

>6. Notice the robe, the ashtray, the coffee cup
madman

>explicitly

I think you mean implicitly

1. Pay particular attention in the beginning of the film; at least two clues are revealed before the credits.
2. Notice appearances of the red lampshade.
3. Can you hear the title of the film that Adam Kesher is auditioning actresses for? Is it mentioned again?
4. An accident is a terrible event...notice the location of the accident.
5. Who gives a key, and why?
6. Notice the robe, the ashtray, the coffee cup.
7. What is felt, realized and gathered at the club Silencio?
8. Did talent alone help Camilla?
9. Note the occurrences surrounding the man behind Winkles.
10. Where is Aunt Ruth?

The robin being fake, I assume means that the idyllic little small town story about good triumphing over evil is a total facade that could only exist within the realm of cinema. Think of how the movie begins and ends with the pretty white picket fence and firetruck with waving&smiling fireman.

>What is felt, realized and gathered at the club Silencio?

What is so deceiving about these? Am I just a brainlet?

SIXTEEN REASONS WHY I

>this thread

Nice and obvious, I hate being spoonfed. I try but I'm such a brainlet.

Fact: Dennis Hopper using helium instead of Nitrous or whatever he had Lynch change it too would have been better. The whole movie he's acting like a baby wanting to suck titty. Imagine him saying his lines with a high pitched baby voice. It really could use a fan edit

Also Jeffrey effectively steps into his father shoes. It's almost like you have to disregard the mysteries to lead a normal life.

user, I...

The Room is the greatest movie Lynch never directed.

I've always wanted to make a fan edit of The Room by replacing the soundtrack with that of Twin Peaks.

Similar to twin peaks, someone investigates a town where nothing is as it seems.

Do that

FUCK THAT SHIT

PBR

>I'm in the middle of a mystery

For me this movie is about 2 things: Our masochist/evil persona, that we hide and a satire of the Reagan regime or either of "good endings".

First one exists within Kyle's character: His desire to find the obscure and his curiosity in general, then Rossellini's character, that's beaten up and raped, and when she's with Kyle, a man that treats her well and she feels safe, she starts to find herself uncomfortable, and needs some sort of punishment. The lines: "In Dreams, I walk with you" and "You're just like me" are examples that this behavior exists and it's under our uncouncious. Lynch went further to explore this theme on Wild At Heart, the scene where Bobby Peru is about to rape Lula (specifically when he touches her vagina) she wants the sex, and then he withdraws his hand, and she realizes that everything she's being doing since (and Sailor as well) has been pure instinct, and they've being acting like primal animals, just having sex while they are alienated from the world.

The second point of view can be explained from the first and the final scenes, the first shows a swarm of bugs and the ending shows the bird eating 1 insect (Frank). While everyone is happy that this one insect dies, there's still a full swarm under them. This happened and still happens a lot, we catch a major criminal and everyone pretends the world is better, but there's still a lot of them, but it's way easier to pretend that the good has won.

Kyle was 24 when Dune was made

Bouncing off your second point of view, you could also interpret the robin eating the bug as good prevailing over evil being the natural order of our world.

I'm sad to say I didn't "get" Blue Velvet. I loved Mulholland Drive, Eraserhead and Elephant Man so I thought I'd like this one but it did nothing for me. The only scenes that really stood out were the musical scenes (Blue Velvet and In Dreams) and the ending with the robin. The rest seemed very straightforward and kinda dull.

What am I missing?

that would actually be this

Its a satire about the ideal, peaceful small town. It's not actually peaceful, but the people just ignore all the bad shit happening so they can be blissfully ignorant. That's why the ending is super optomistic

Had a similar experience, none of it really left an impression on me.