David Lynch is the ultimate disruptor of mainstream films
No one has fully understood, properly analyzed or thoroughly dissected the life and times of American filmmaker David Lynch. For that, cinephiles are eternally grateful. We secretly yearn for surrealists, such as Lynch, to spin his elaborate tales because they defy gravity and turn logic into madness. Re-watch his television triumph Twin Peaks for all the giddy evidence you need. Plus, you get pie.
We need his cryptic mysteries because they do not always get solved in routine ‘whodunit’ ways. Re-experience Blue Velvet, his early cinematic masterpiece. Plus, you see the late Dennis Hopper, as the ultimate method actor, doing his career-best performance.
Finally, we value an artist who is the ultimate disruptor, because most mainstream filmmakers are now obliged to be mundane conformists by their Hollywood bosses. Reevaluate Mulholland Drive, Lynch’s mature masterwork, in this context. Plus, you get a dizzying trip into the machinations of old Hollywood.
Now 73, Lynch is in another lull in production since his successful return to Twin Peaks in 2017. No matter, something wonderful and/or weird is sure to happen. And, we are allowed more time to contemplate his universe. Not incidentally, in July and August, the Toronto International Film Festival launches David Lynch: The Big Dream at the TIFF Bell Lightbox. Setting out to chart ‘the director’s ascension from cult favourite to cultural icon,’ TIFF will screen the features Eraserhead (1977), The Elephant Man (1980), Dune (1984), Blue Velvet (1986), Wild at Heart (1990), Twin Peaks: Fire Walk with Me (1992), Lost Highway (1997), The Straight Story (1999) and Mulholland Drive (2001).
TIFF’s Brad Deane, who curated The Big Dream, has also lined up some of Lynch’s provocative shorts. These include his student-era drama, The Grandmother, the strange story of a neglected boy who, from a seed, grows his own grandmother as a caregiver. The ‘seeds’ of Lynch’s future work are found here.
But why now at TIFF? “For me,” says Deane. “It’s the new Twin Peaks series that triggered this – just seeing how relevant it all is and how innovative he still is as an artist. The lure is the mix of the most traditional forms of filmmaker with the avantgarde. So it is a good time to go back and revisit all the work.”
Meanwhile, no one who has ever met Lynch – and I interviewed him repeatedly for The Toronto Sun – has seen him without a cigarette. He’s a relentless chain-smoker. After 9/11, when stranded at the Toronto film fest, Lynch refused to join friends who offered him a lift home to New York in a non-smoking van. He waited until a smoking-friendly opportunity arose.
Puffing or not, Lynch is always charming. But every interview that I transcribed led to one conclusion: I still do not really know what goes on inside his mind. The inspiration that drew him into the sadomasochistic weirdness of Blue Velvet; the obsession with the road movie motif that led to such oddly diverse films such as Lost Highway and The Straight Story; his fascination with deformity that plunged him into The Elephant Man saga; these all eluded me.
And, yes, this is a good thing. Not all mysteries should be revealed.
|Bruce Kirkland‘s career spans more than four decades, working as a film critic for The Toronto Star, The Ottawa Journal and for 36 years at The Toronto Sun.
A life-long film buff, Bruce now shares his passion and insight with Active Life readers.