![]() Made all the more curious by the film’s desire to be knowingly unpleasant with ultraviolent images, this large section of the movie feels like an unnecessary detour to underline what the rest of the movie already does but concentrating on our actual main characters. And Johnnie isn’t killed by Santos or an act of God but by three very distinctive characters (Juana, Reggie, and Dropshadow) who then disappear from the movie. Johnnie never gets to Sailor or Lula, tracking them to New Orleans before Santos’ plan to have Johnnie killed comes to fruition. He’s the first Marietta sends out after Sailor and Lula, and Marietta immediately sends Santos out afterwards. This starts with Harry Dean Stanton’s Johnnie, a wannabe lover of Marietta’s and private detective. This film is packed full of interesting characters with wild performances from each of them, but a shocking number of them end up being completely excisable in terms of the central story of Sailor and Lula’s romance. This represents one of the real joys of Lynch’s work in general, and some issues that keep individual works operating in the microcosm. My central problem with the movie is that Sailor and Lula’s story barely intersects with the majority of Marietta’s story for the large bulk of the movie’s run time. Driving away from Cape Fear, North Carolina and breaking parole, Sailor gets pursued by several assassins hired by Lula because Sailor may know some terrible secret from Marietta’s past since Sailor was once the driver to Santos, a local gangster she has a relationship with. It is the story of Sailor and his girlfriend Lula, taking a road trip after Sailor gets out of jail after several years for the killing of a man who pulled a knife on him at the behest of Lula’s mother, Marietta. ![]() Made during the production of Twin Peaks‘ original run, it shares a similar embrace of soap opera conventions to an extreme, putting it somewhere on the border between straight telling of a story within the genre, homage, and satire. ![]() Adapted from the novel by Barry Gifford, Wild at Heart is a combination of Badlands, The Wizard of Oz, and Blue Velvet thrown into a blender and set on the highest setting. This is probably the most extreme example of the combination of wildly variant tones that David Lynch revels in. #10 in my definitive ranking of David Lynch’s films. ![]()
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