On it's release Blue Velvet (1986) caused a bit of a stir. Initially shown at the Montréal World Film Festival in August 1986, and at the Toronto Festival of Festivals, the film received both a chorus of boos and cheers. So pretty standard film festival reactions then!
The movie contains some very graphic and shocking scenes of violence and a performance from Dennis Hopper than will live long in the memory.
The Dads try to make some sense of it all, and leave with heightened anticipation for our next David Lynch instalment.
Sidey: This is part two of our David Lynch, trilogy of films that we're looking at over the next few weeks. The first was a straight, the straight story. And this is blue velvet, two films as dissimilar as they come.
Dan: this wasn't part one and part
Sidey: this was obviously preceded that when this was 1986. So it preceded twin peaks as well, which I didn't realize. Before rewatching it for this. And you can see a lot of that where the ideas were coming from. Had you seen this before? Oh, okay.
Dan: not seen this before.
Sidey: I reckon
Reegs: you had seen this before. Yeah,
Dan: Yeah. It was new to me. And
I recognized the lead actor from June.
Sidey: Yeah, it's it, Carl McLaughlin and very apt because it's his 63rd birthday this very day.
Sidey: that's yesterday, if you're listening to this tomorrow,
Sidey: make sense? Yeah. So yes, he is the lead. And this is classic David Lynch in the sense that. It's what's going on behind the facade. And it's like, so literally shown to you in that way. The picket fence is the first thing we see at this perfect looking veneer of what's going on.
Reegs: the American
it almost like desperate Housewives sort
Dan: watering the grass. Isn't it
Sidey: perfect manicured lawn, I think the fire truck goes past of the guy waving on it. It's all like pretty Saccharin it's his old man that's watering the garden. And he has a stroke as a pretty serious
Reegs: a minute to figure out what was happening.
Sidey: Those are the heart attack or something, but it was a
Reegs: stroke? Yeah.
Sidey: He's he's dad on the deck and the dog comes and like playing with. The hose is he's still lying there. And it's that, that turn of events, which brings calm Docklands character back to town.
Dan: I as I remember that
that scene where the dog plays
with the wards, is he kind of slowed that
Sidey: It goes slow and the camera moves in and it keeps moving in and it moves in and it goes into the ground and it goes further into the soul. And it's just loads of.
Riving around. So very, very like in your face metaphor for there's something going on, you know, under the surface, there's no subtlety in this film.
This is not a subtle
Dan: This is
Sidey: Yeah. This is what goes on.
Dan: Because yeah, because that visual, you
know, on the surface, you've got a dog
playing a water and it's playing the
water is hitting the light
and it looks really nice. And then he dives in underneath
and you go and
all the kind of nasty bugs and
Reegs: we meet Jeffrey.
Carl McLaughlin. And he's come back to town to take over Beaumont's paint and hardware, which is
Sidey: the family business and
Reegs: business, the local builders merchant from his father. And he's staying with his mother and his aunt. And he goes to visit his father in hospital and he cuts through an abandoned area on the way back.
And he's throwing stuff. I think he's trying to smash a bottle or something. I don't know why he's walking because he's got a kick-ass car that we'll see later, but anyway, it's, it's not important, but he obviously discovers what you would discover in that kind of a
Dan: If you were just lobbing rocks at an old abandoned shed. you, You kind of half expect to lean down and pick up an air. the fro next,
Sidey: which is what he does do.
Reegs: it's pretty horrible. It's quite graphic.
Sidey: It's got ants crawling all over it. It seems to have been there a little while. It's got a bit moldy, sort of a nature is sort of taking its
course on it. Ape just puts it in a paper bag and
Dan: he's off
Reegs: Well, you actually go into the air with the camera as well, which is pretty cool.
But yeah, he just puts it in a paper bag.
Dan: He picks up rather then that's where I thought he,
Sidey: I would've been so fucking freaked out.
Dan: picked up through the paper bag, rather
Reegs: like a dog shit.
Sidey: I think I'd have just gone and called the police there. And then I don't think I would've had it in me to pick up
Dan: well, yeah. Even, you know,
nibbling on it.
I wouldn't do that. I wouldn't I wouldn't
put my tongue in
it or anything.
like that, that would be stuff I wouldn't do to
a dead human ear.
Reegs: So he takes it to the police station. It's probably the second best thing, other than just calling them down there, like you
Dan: and it's, it's
little scene, so yeah, he's walked to through the park and then he's found this air and then he walks
over to the police station. And he goes up the see up the stairs.
Didn't he and that the policemen's
thinking. What? So this, I think
he kind of knows him.
Sidey: you get the feeling that it's a real small town community,
Reegs: Well they're neighbors, aren't they? So that's how he greets him. Not, it's not as a policeman. Yeah. It's as a neighbor sort of thing, but he's got, obviously got
Dan: that's right. There's a flip familiarity there and he
him the air.
Doesn't it? He goes,
wow. That is a real air. And now you better come and show me exactly where you found it.
Reegs: and the acting is. Purposefully, I think kind of stiff and
Sidey: definitely. And you get a lot of that in Chimp peaks. It's this an interim Pixi has the, the, a lot of the time the TV is on with the daytime telly stuff.
And it sort of, the acting is sort of like that, like sort of really stilted and unnatural. But like you said, it's a deliberate choice.
Dan: That's a conversation David Lynch has with the actors, or they just know it's a David Lynch
film and. I act like this.
Reegs: I think it's deliberate because in other movies of his like Mulholland drive, he gets really convincing, amazing, real performances from people as well.
It's so there obviously I'm sure he's, but he shoots hours and hours and hours of footage like this for this one, they short like nearly five hours of footage before they
Sidey: This is his fourth picture. So he had worked with Carmen blocking on June, which was the third film that he made. But I think a lot of the.
you know, still for four films, you know, the razor heads is, I don't know if you've seen that one, but it's not a huge cost in that.
Elephant are slightly different, but this, I think would have been a lot of the, first time people who work with David and he's still an up and coming guy even knows his fourth film.
Dan: for films.
you know, he was the first choice to direct return to the jet. I
Reegs: I read that this week, which
Sidey: fucking what a film that would have been.
It would have been a very different,
Reegs: Yeah. It's difficult to imagine what that would
Sidey: Yeah. I'd love to say. In any case, basically carbon Gupton is told really explicitly that it's.
Something's going on in that apartment. And
Dan: Well he's told food, the daughter of the policeman So he goes, and he's,
he's a little upset with the pace of
Reegs: He wants to be
Dan: the loop. Yeah.
Sidey: and he's found it and he wants to
Dan: He's almost like
you know, one
guys. And I wasn't sure at the time because often it is And I wasn't sure how weird this film was going to get being a David
and, and everything. So. Sometimes it's the person that goes to the policemen and hangs around.
often the guy who did it isn't he? And So I wasn't sure at this stage where it
going, but then the, the daughter connects with
him and says, oh, I
know something about
and these people. And she kind of puts herself in a position where they're almost partners and she's
her a long, a little bit.
She is the same
And she shows him The apartment, that's where it is. It's just a couple of blocks down
from where they live.
Reegs: her reveal is really interesting because it's like femme fatale, but she's about playing a character. Who's about 15 or
Sidey: still. She's still a high school, didn't she? Yeah. And she's dating
Reegs: She emerges from the darkness in the first shot and she's like, oh, I know where, you know, she's like, oh, I overheard something, you know, and it's presented.
It's impossible because of the way that it's being framed is impossible. Not to have a kind of sexual elem element to it, even though she's so young, she's
Dan: th th the two kids of a certain age around the same age as well isn't there and there.
Sidey: Well, I think he's, he's older cause he's at college, but she still, it seemed to me it was at high school, the local, you know, the town high school.
So that would be a spin of you know, a young age difference if you
Dan: Maybe they knew each other also from the fact that they've lived,
in this small community,
Sidey: say they were neighbors.
Reegs: she says she heard her dad talking about a woman named Dorothy Valens, a singer who lives in like the darker part of town. So Jeffrey comes up with this extraordinary plan to pose as an ex, like an exterminator or a fumigator or whatever, and go up into Valence's apartment and I think his initial plan is he wants to open a window so he can come back later.
It's all really odd. And Sandy says to him, are you a detective or some kind of pervert and they're giggling about it, but it's already
Dan: yeah, it, it just gives it You'll have to
Wait and find out. or
Reegs: And then Sandy's going to pretend to be a Jehovah's witness because he's got copies of. Watchtower or something in his car for some reason.
And, and she's going to like bus it's this insane plan. Like
Sidey: pretty much all in. Right from the get-go in terms of like, you know, getting into someone's apartment by false pretense and you know, it wasn't
Dan: Well, I think it's a little
bit like American animals
where they were just talking about the plan.
And Just seeing how it goes. Certainly
Sidey: waiting for someone to say, no, let's not do
Dan: exactly. changes and
he's going through with
Sidey: this isn't something that I investigated. It's like a trifling matter. Someone's had that Aircast off. So if someone's had the echo, so if some fucking bad shit has gone
Reegs: well, you assume someone's dead really don't you, if you find it here. So anyway, he's spraying for bugs. He finds a spare key. I think under the sink, her apartment is kind of like, it sort of seemed to be, it was almost one of those places that was Walter Walker.
Sidey: the, the tele looked like it was out of the Simpsons, you know, it had that sort of comedy, almost aerial sticking out of it. It was weird looking place.
Dan: carpet in the
kitchens and have a nice.
Reegs: But then the yellow man, I think turns up a instead of Sandy and she saw him coming, so she doesn't interrupt him, but he's interrupted
Dan: Cause, cause the plan is, I remember it was that he would go with. being this
and to buy him some time she was going to knock on the door, pretend to be a Jehovah witness,
Keep her there for two or three minutes while he had a good look, may be wedged a window open. He ended up finding a key.
She didn't make it because another
guy turned up at the door and then they come back to the car and quite excited. He's got the key and they they think it's his mission complete.
Sidey: but you can't be just like getting a key and thinking I'm just gonna let, let next time. I'm just going to let myself, it's just fucking madness.
Anyway, that's the fucking least of my worries.
Dan: it is madness, but he's kind of got this detective bug in
a way. He hasn't
wants to sort it out and he wants to investigate how.
This air is, comes up.
in a place, And I think he's a bit bored coming back.
He's got dad's in, in hospital.
or it wasn't planning for any of This And this has fallen on his doorstep. Now
Sidey: he's definitely got ideas about the station, I think.
But anyway, they go and watch Dorothy sing. At this place. And so while she's, ah, they know she's going to be a way they're going to use the keys to go into the apartment and have a proper
Snape about, and they come up with this idea that while he's up there, when they see her arrive, she is going to beat the horn four
Reegs: four times
Sidey: to alert him and.
And so, and I thought this is fucking stupid as though he goes for a piss in her apartment. And so when he flushes the loo, he, he doesn't hear the, the four, the four beeps of the car horn. So
I'd forgotten. I was waiting for him to get caught there and then, you know, just an apartment, but he. He's in the middle of the lounge, as the door starts to open everything.
Here's the keys and the door just opens. Cause I think you see the light of the door opening. I just gets into this big sort of water wall fitted covers that she's got
Dan: in the front room
Sidey: and then it fucking goes fucking bomb.
Reegs: Well, she does something completely normal which is she gives him a blow job at knife point.
Sidey: Well, she immediately takes all her clothes off as soon as she walks into the place.
So he's having a good old path.
Dan: in wardrobe. Of course,
Sidey: Then, oh, she's just in our underwear. And then she goes to the bathroom and gets naked and puts on the blue velvet robe.
she phones some guy that we haven't met yet called Frank Booth. And it's clear that. She has a child who sounds like it's being held hostage.
It fucking escalates like in the drop of a hat. And while I think she puts the phone down and is clearly distressed by this conversation that she's had and fucking decade in the cupboard, knock something and makes a noise. And she obviously hears it. He must see that she can hear it. She gets a knife, like you say, he gets a knife from the kitchen and fucking like, gets him out of there. And it's like, if she obviously recognizes him
Reegs: Yeah because he's been
Sidey: I said, what you do, what'd you see? What'd you see? And I think she was referring to the telephone call. Not the fact that she's was naked and
Reegs: Absolutely. Yeah.
Sidey: just staring at her.
Dan: I'm not even sure. She does recognize him straight away, I think.
even think he's part of Frank's team or, or somebody else to spine her.
Sidey: she doesn't, she put him in the face with a knife as well.
Cause he's got a cup. Yeah. But yeah. Then she takes off his boxer shorts and when she gets them to strip down, just watch, but then she takes off his book shows and it's fucking weird. It's like fucking
Reegs: She's just blowing him with the knife there and
Sidey: don't touch me.
Sidey: then they're going to have
Reegs: she's excited about it.
She's enjoying the fact that he was watching her. That's pretty explicit
Sidey: yeah. There's no doubt about it. She is she's into it. And as it's getting down and more intimate on the couch or what other, whatever it was, chaise lounge.
Reegs: It's not a bright, fancy though. Is it? Cause she's got the knife.
Sidey: she's just a masochist.
She just, she says, hit me. Well,
Reegs: the fuck? Yeah,
Dan: Yeah. Now it starts to go really. wild where though
Sidey: obviously we can talk
Sidey: the reaction to this film because it gets even more like disturbing very quickly as you can imagine, like, people didn't like this film when it came out mark 6 86. So what'd you gave us one.
Mark Kermode I think he walked out a bit or certainly was going to walk out of it.
Didn't get it. A lot of people have since they've revisited it and were able to sort of reappraise it. But when you see stuff like this and what happens when Frank has Frank comes
Reegs: well, Frank turns up. Yeah.
Dan: Frank's Dennis.
Sidey: Like seriously, fucking like disturbing
Reegs: yeah. Well, he, he's a bizarre pervert who likes to inhale gas and stare at Dorothy's vagina.
Sidey: It was going to be helium.
Okay. Imagine if you had the screen
Reegs: I know.
Sidey: so it starts off. They must have a routine because she immediately gets the chair out and sits in front of him and then he starts ordering her. So spread your legs wider. And he's just staring at don't fucking look at me and he's straight away. Like he's super aggressive with her.
Reegs: She didn't have any knickers on, and he didn't know that Dennis Hopper, that she was going to
Sidey: for real. Yeah, for real.
Reegs: That was fun.
Dan: that She
Sidey: say she was naked
Reegs: So this shot is from her, from behind with her legs open. So she, there's no reason for her to, she doesn't have to.
Reegs: Yeah. But yeah, she surprised.
Dan: Well, I bet she did.
And yeah, Dennis Hopper, it plays this psychotic kind of criminal and my Dorothy is sex slave because she's got a kid and a husband that he's
keeping in another part of town against their will and using it as far as I
could gather at this point is, is that where we're at?
Sidey: yeah. And she's kind of into it.
Sidey: Which I think. The problem that people have with the film,
Reegs: Yeah Well, cause he hits her a few times. Th the violence is, is odd how the, the violence in this world works because sometimes it has consequences and a lot of times it doesn't. And it's all kind of more sexually again, it's horrible to talk about
Dan: she made noises that she, she wanted to be
hit and she asked
to be here and she was saying
all this kind of stuff.
me think, what
is led her to, to get this
virus this, because it's been an abusive relationship with Frank.
she doesn't know any better.
She thinks she's so
Feeling that she gets
and satisfaction from it when she just
gets beaten to a pulp because
she feels so,
so it was quite sad.
kind of way, you know?
Reegs: from worse because when Frank Lee. She tries to get Jeffrey, to slap her about a bit as well. I mean, it's like,
Dan: Wait for me because you expect a psychopath.
like Frank and
she went away and she,
sometimes she would look in,
she would get hit for it.
And, you know, obviously that hurt. But then
comes out of
the closet as it were then she's
for the same treatment,
the same behavior. So
it just made me think, well, what was he trying to say there?
Reegs: I think it sounds even more shocking as we're describing the plot in some ways than it was when you're watching it.
And I think there's an emotional distance that he creates with his,
the way that he is acting that stiff acting style that we talked
Sidey: about. I wouldn't say necessarily that Dennis Hopper was that was that stiff.
He was more was fucking disturbing. I mean, he's screaming. Daddy likes to fuck.
Have you read a book called.
Mad dogs and raging bulls or something like that. It's M S story. It's just a history of like the seventies and eighties directors, like the auto directors. So kid and blah, blah, blah there's loads of stuff in there about Dennis Hopper and what he was like at that time.
And he was not a good guy,
Dan: fueled. It probably just come out rehab. I think
or it was
Sidey: making, when he came to make this, he said that when he was doing his performance, he thought, you know, He was doing enough. And Lynch was like, no, I need more, more, more, and just dialing up to like double what he was bringing anything and fuck that guy was a maniac anyway.
And he's still like, and panty during that first scene, like they had to do it those times because David didn't, she was laughing.
Yeah. Yeah It's really fucked up this film.
Dan: he kind of develops these romantic feelings
for for both girls
over there, next?
you know, with a film. Thirdly, the film
we, we find that he's, he's hugging Dora fi he's he
refuses to punch her, but that's about all he refuses
and he'll go along with anything else he's attracted to, her. he knows that.
she's in a relationship she's married. She's got a kid in a relationships getting beaten the fuck up by by
Frank it's dangerous. and it is flat a dangerous because
he knows that there's
a killer as well.
And eventually he gets found leaving
the apartment by Frank.
Sidey: reckless, this.
it's kind of this, this standoff, there's there's
Sidey: Frank and his entourage. But
Reegs: well, that's back at the club. the next night and that's where he sees Jeff.
Cause it's got Brad Durif who's Like a terrific horror icon. I think he was in child's play
Sidey: he's also been inspiring and he's seen yellow jacket and
Reegs: He's got he's fashioned some device. Did he see that like on his dashboard that he's pulling the
Sidey: Yeah. Some, some sort of crude spy camera thing that seemed about unnecessary.
Reegs: Really unnecessary. It was like, so like, yeah, it's just busy work. It's dreamlike, I
Sidey: guess. What is happening is that yellow jacket is the police.
Reegs: He's the
Sidey: he's the partner of, and he is stating drugs. That's been taken off different things and giving them to Frank for Frank to sell. So we know this is a fucking seriously bad dude.
Reegs: We've also seen a man with an alligator skin briefcase,
smartly dressed man or something. He is a smart man or
Dan: Yeah. That was when
Jeffrey was kind of hide in plain pie and just watching the outside of a building.
He'd seen Frank go into
Reegs: Yeah. We were just talking about that. You
Dan: he, he took all this.
Reegs: the listeners for listening, maybe that
Dan: He took all this here. Maybe, maybe they weren't, I'm just re summarizing. But then he he's gone and taken all
this to the copper. Isn't he he's taken it all in and said, look, these are the photographs. And, and or
these are the people that I've
Reegs: Yeah. Yeah. But I mean more really it's about Jeffrey and Dorothy having a bit more Slappy, fighty sex. And then Frank turning up
Sidey: exits the F the apartment and is caught by Frank, as you mentioned, and his entourage.
you're thinking you fucking gonna die. You know what I
Reegs: speeding round town.
Sidey: though? They take it. I said, right, it's got a joy ride and they go to a brothel out there, the outskirts of town, which is run by Dean Stockwell in some sort of weird makeup who let lip syncs lip-sync some saw.
Reegs: Roy Orbison,
Dan: Ziggy had taken him one jumped too
far. here at there, and He's just leaped into this scene.
Sidey: there's really OBS.
It's interesting because they asked for permission and were denied and used anyway, so well done. And we're OBS and happened to see it on telly. Well, the fuck kicked off ma ended up meeting David Lynch, liking him, and then David Lynch directed one of his music videos. So that's quite
Reegs: interesting. It's
Sidey: Yeah, but that scene is just another, like oddity.
Because his place is populated by these background characters who are often just kind of, and the movies like this as well. Just like the sorts of people that you never really see on TV sort of upper middle age, like very, maybe overweight or just kind of ugly or like unusual
Reegs: or just, yeah, that's what Ben's places.
You get Frank's utter outrage over Jeffrey's drink order at one point Heineken. Fuck that shit.
Sidey: I was with him.
Reegs: Blue ribbon.
Sidey: I was with him on that. They have the husband and the kids are there. Aren't they? Because Dorothy goes into the room and you hear
Reegs: well, you don't see them. Do
Sidey: off-camera you just hear some screaming and stuff.
Sidey: good stuff.
Dan: It sounds like
the kid doesn't want mommy there and she's obviously.
Even more heartbroken by that. Dunno. what's going on. Who's looking after me. Maybe those, those women in the back where
the nannies of the kid and things,
Reegs: Well, Frank's sinks into a depression really well. Ben singing it doesn't
Sidey: just stands really close to them and watch them. And
Reegs: Yeah. So then they take Dorothy and Jeffrey back out of there and back for it back out for a spin on the streets and then he's ranting at them and he pulls over and then there's songs playing on the radio again.
And they beat up Jeffrey to the, to that song again, it's like, well And then he wakes up the next morning. He goes back to the police station, like you were saying. That's when he tweaks it all together, that he's
Sidey: pieces, the whole thing together. Yeah.
Reegs: So we know there's going to be a confrontation.
Sidey: Well Dorothy appears naked. And she's been
Dan: awkward scene,
Sidey: really, really beaten this
Reegs: It's outside Jeffrey's house, isn't it?
Sidey: He has to bring her in to. What was Laura Dern's character, Sandy and her mother.
Reegs: They let us stand there for a long time without giving her any clothes, right,
Dan: to put a jacket around it.
And then Sandy
starts seeing Dorothy putting her arms around Jeffrey and saying, oh,
I love you. Or
Sidey: calls him my secret
Dan: my secret love.
Sidey: puts two and two together and realizes that they might have been
Reegs: Well she
Dan: quite quickly. Yeah,
Reegs: but it's then she quite quickly forgives him.
Sidey: Yeah. Cause we were right. We are actually like right near the end
Reegs: to the end now. Yeah. well he sends a Jeffery, sends a father off to the abandoned warehouse to bring in Frank but then I've completely forgot what reason for it.
And I wrote notes afterwards. I've already seen it with Jeff. We needed one more trip back to Dorothy's house for some reason. And when he turns up, he finds the yellow man stood there,
Sidey: It's really odd
Reegs: drenched in blood with pieces of his brain.
Dan: He stood though. Isn't it?
Sidey: still alive?
Reegs: Yeah, he's still alive. He stood there.
Sidey: I see. You can see like a square piece of his head is missing and his brain is sort of poking out.
Dan: he's, he's stood up
just kind of out
of shock out of
belligerence is is more than anything else,
Reegs: And then slumped on a chair next to him is Dorothy's airless husband. He's dead. And he's got this strip of blue velvet fabric in his mouth from a torn off of the blue robe that Frank Booth was jacking off into.
sign at a kid anywhere. I don't
Sidey: no, the kid was fine though. That's okay. We'd have to worry about
Reegs: don't have to worry about that. Don't think about that. But do think about the alligator briefcase man, who turns up
Sidey: Well, there's a police radio. They have a police radio
They know that you got a jacket, man makes a noise and wax something as well, maybe jump.
And so they know that
it's somehow he knows. I can't remember exactly. Start that again. They know that the smartly dressed man, this time is Frank in disguise and they can see that he's coming up to the apartment.
Reegs: he's not at the warehouse.
Sidey: cleverly, no, like says on the radio, knowing that they have the police radio I'm in the back bedroom, send out, you know, ASAP Frank's coming, who's going to kill me.
I'm in the back bedroom. Then he runs back to the wardrobe.
Dan: he grabs a gun as well, clever thinking because
what a scene to have walked in on, You know, the guys stood up,
but you wouldn't sh I wasn't sure Where is he, you know, he stood up
so he's not dead.
is, but for all intents and purposes, the guy was
gone a little shove would have pushed him down and that would have been it.
But he's managed to get the gun. And I was still kind of half expecting this guy to react, or stop him or put out, but no he's gone.
He's completely gone. And
he hides in the wardrobe
then waiting for for Frank.
Sidey: Frank does turn up and is his usual calm self goes,
has heard the message about being in the back bedroom.
So he goes, makes it be like that, but he announces that he's going there for, I thought it was, well, if he's got a gun, you know, now he knows you're there. Anyway, he says, I'm going to fucking kill you. All that sort of stuff goes in there. He's not there. He gets more and more re enraged going around the apartment, trying to find him and eventually Twix.
Going to be in the, in the wardrobe and does the classic thing of delaying Stands there ready
Dan: Doesn't fire a couple of shots into the
just to be sure
He opens it
Sidey: and he opens it and he
Dan: he gets
Sidey: his head blown off, basically
Reegs: quite graphic actually.
Sidey: it was
Reegs: It's quick, but
Sidey: yeah, it's pretty, it's pretty loud and pretty GRA graphic.
And then the police arrive just in the, not in the Nick of time.
Reegs: Yeah. Well, and then it's just kind of a finger snap in your, a few bits later in the Williams family or in the Beaumont's or enjoying an afternoon together. And his father recovered from the stroke as any,
Sidey: said earlier on Sandy had had this monologue about the Robyn and how that symbolized love and happiness and blah, blah, blah.
And then this, this animatronic Robin, apparently it was actually a dead Robin that they'd just like motor in every
Reegs: get the fuck out.
Dan: looked Like something
from clash of the Titans or something, a booboo from that
Sidey: that's the thing that survived into trim peaks is in the credits as well. So it,
Reegs: it's bizarre how artificial light
Sidey: and well, I guess they couldn't train a Robin cause it's got a bug in its mouth.
Reegs: They could make it look better than that though. The fact that it looks so like
Dan: so felt. I also read that
and maybe reading too much into it,
not being real was also a signal to
the story and the
falseness of in underground, Even those relationships of love and all the
rest of it.
could be. So even the Robin being. fake symbolize that.
Sidey: I don't think you can ever read too much into a David Lynch movie. I think it's all there for you to, to, to,
put your own meaning on it. I took the ending because he like to say is very quick to be everyone happy days. It's almost like the mega happy ending per state from Waynesville because everyone's happy.
She knows that he's been fucking. S and M fucking lunatic.
Dan: on the
Sidey: And, but we did have brief short of Dorothy with her son at the park and she doesn't seem brave fulfilled. I think she's missing being or two did seem that way because she's not, she smiles and then the smile disappears, but back at the house, yeah, like you said, the stroke is that's dealt with their relationship is back and fine.
And I think the point of that and seeing the. With the bug that we saw at the start is, is he's just saying that everyone in life is, is pretending that everything's fine. When every RT, everyone fucking knows full well that there's all this other bad shit going on.
Reegs: it's all this sexual violence stuff happening in the thing and, and everybody.
Sidey: We're just all saying it's fine and we're ignoring it, but we all notice that really? Yeah. Yeah.
Sidey: So, did you enjoy it?
Dan: I probably did enjoy it. Yeah. It wasn't
a film that kept me, yeah, it is
full on and I hadn't seen it before. And it kept me interested and
watching it was compelling all the way
through. I wanted to see what the next
find it weird. The act. I thought, well, this dressings budget you know, that first few 15 minutes or so until you realize, well, maybe the director is using this as part of the plot or telling the story, there's
Reegs: well, it's got this like cheap, so pop press style going on, but then these horrible, horrible deprived things that, you know happening on screen.
Dan: Well, say, say in Dane Stockwell in it. which I didn't know,
played this really bizarre character and
it gave a great performance
doing it as well.
W w you know, grind D you can imagine, you know, these people in all the worst of, of business,
and don't have really a low enough wrong or the ladder to, go on or to go down there.
They really base. But you played
that well, were, were character. And Also Dennis Hopper, you know, playing that
character. And I know that he's great at those characters through films that I've seen
him do after this one, if you like casino and
things like that, but
Mainly mafia stuff, but it was just, yeah, I really kind of gripping
seeing when he was
Sidey: The most horrible character I can think of in any film has got no, no redeeming quality at all. He's just fucking violent, nasty, horrible. There's no backstory to say, oh, what is he? You know, what happened to him to make him a, he's just a fucking horrible
Dan: Yeah I was saying I've Just mixed him up with Joe Peshy because
he's the other one,
actually in casino who.
who's got that twist of
just turning something on in him. as an actor. I just kind
of believe they're really nasty
And yeah, he
did that well because he played speed was um yeah the other, but it was good. And the, who's the actor who played Dorothy
Reegs: Isabella Rossellini.
Reegs: I think she was on Ross is laminated
Sidey: and then turned up in the,
Reegs: friends. Yeah.
Sidey: And then, you know, he he'd bumped her
Reegs: Yeah, that's right.
Sidey: Yeah. So I've watched a few interviews with David Lynch because he hates, hates, hates talking about his films.
He just thinks the film exists. So watch it and think about it. I'm not going to tell you what it means. That's that's like, you know, absolutely not what it's supposed to happen, but he was talking about, the guy was asking him about. You know, getting people to play these roles. And he said, well, the great actors,
they basically at the start of the job bell. Isabella was saying he is gone and she inhabits the new character and that's it. And gives us any sense. She just completely gave us out to the role, like you say, by being naked, we didn't have to do that. So she just completely went for it and was just like amazing.
I don't think I've ever seen her in anything else.
Reegs: No, I don't know. I didn't look at a filmography. That's odd for me actually. I normally do.
Sidey: But yeah, she's, I think all the performances in a. Pretty memorable. You told me Dennis offer, like, because of the content it's just unforgettable. Yeah.
Dan: certainly a good description of it.
Reegs: Yeah. Yeah. I think it's, it's apt for David Lynch to talk about his movies being dreamlike.
You know, it's a bit of an objective. Overused, but not for this one. And it's almost, you know, I think sometimes listening to people, talking about their dreams is really uninteresting and unsatisfying, but yeah, I'm not sure what I'm trying to say really is the, the, the David Lynch movie. So I don't worship at the cold.
David Lynch, but I do, I often find listening to people's theories about his movies, or at least as interesting as his movies themselves. And sometimes we disagree that things like storytelling and acting and like plots that make sense and resolution and drama and things like, you know,
be explained to you sometimes.
Dan: I don't
think the plots that far off and that crazy. that
Sidey: This one's, this one's just completely linear. I mean, it's just, this happens. This happens, this happens, it's just fucking vomit and horrible. I mean, there's little aspects of it. Certainly when Jeffrey has a dream and he sees like a flame and it goes slow motion.
And this is a screaming Dennis Hopper. A lot of that made its way in. Trump hates content, you know? So this is the same level. So dream statements is like that in the movie, but a lot of it is just like, this is basically a drug data gangster type. Here's a horrible sexual deviant, you know, it's best for the product.
The next one we're going to watch. David Lynch would be Mulholland drive. So that one a little bit more fucking fucked up.
I don't think I
Sidey: Okay. Let's strap yourself in.
Reegs: that is my favorite of his,