Eraserhead, Blue Velvet, Mulholland Dr. – why do David Lynch's films exert such a grip on our imaginations?
Let us start, as David Lynch himself did, with Eraserhead. I first saw it on the college film circuit in 1981, four years after its UK release – but I had been haunted by it long before seeing it. Even the small advert in the Evening Standard – a tiny version of the poster, with Jack Nance's appalled, ambiguous gaze, and that haircut, with, of course, its baffling title – compelled, and made me realise that I was going to have to see it one day. When I was old enough.
For it was an X certificate (now demoted to a 15), and it contains horrors, most notably the grossly deformed baby sired by the hapless Henry, which in the final scenes is subject to a gruesome dissection, leading to some kind of apocalypse. As a...
Let us start, as David Lynch himself did, with Eraserhead. I first saw it on the college film circuit in 1981, four years after its UK release – but I had been haunted by it long before seeing it. Even the small advert in the Evening Standard – a tiny version of the poster, with Jack Nance's appalled, ambiguous gaze, and that haircut, with, of course, its baffling title – compelled, and made me realise that I was going to have to see it one day. When I was old enough.
For it was an X certificate (now demoted to a 15), and it contains horrors, most notably the grossly deformed baby sired by the hapless Henry, which in the final scenes is subject to a gruesome dissection, leading to some kind of apocalypse. As a...
- 2/18/2012
- by Nicholas Lezard
- The Guardian - Film News
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