The spiral of the ear that Jeffrey finds approximates Dorothy's tornado, leading Jeffrey across Lincoln Street to the bad side of town, which is not too far from the good side of town. "I don't see how they could do that. She’s holding a stop sign towards us, telling us that we have arrived at our destination. It is a mock castration of the father figure - showing him as weak, which is important to keep in mind just like the clueless child. 18. As the shot progresses the camera slowly brings us inside of the ear, until its completely black, as if we’re being brought right into someone’s mind. Pushing deeper and deeper to show us what lies underneath all these on-the-surface pleasantries we were exposed to so far. It manifests itself most commonly with “the erosion of the joie de vivre”, but not in this film. And all of a sudden, thousands of robins were set free and they flew down and brought this blinding light of love. I can even rationalize his extremes and explain how only philistines will dislike the work. Done. So, I guess it means that there is trouble until the robins come. They smile and talk of how the robins came and everything was made perfect again. Symbolism was mostly present in the colors that mostly stand out to the human eye - black, white, red, blue, and a little bit of yellow. As the noise grows louder, the camera then goes right under the grass and into darkness, until the darkness remerges to be beetles crawling under the ground. It doesn't belong in the real world. The static shots used throughout the scene further represent this fixated state. The frame dissolves in to a blue sky and we hear the musical namesake of the film, the love song “Blue Velvet”. Thoughts on David Lynch? Like any Lynch film there is just so much in Blue Velvet that you can take from it. And he's going right for the throat with his portrayal of the ugliness that can be found underneath that picture-perfect illusion of small-towns and suburbs. 139. This introductory credits sequence perfectly captures the essence of the film and sets up the tone. And apart from that pleasant 50’s sign we also get an up-beat radio jingle. He is all dressed in black, telling us that he’s no ordinary Norman Rockwell townie. The film cuts fast between these next few repeated shots -- the father tugging, the hose, the choking -- culminating in the father suffering a stroke. It is in fact so important that the film goes even closer on the animal. Clearly we want the side of "good" to win, and it does, because Lynch has an unending amount of hope and good spirit. In the following shot we are shortly introduced to our protagonist as we watch him walk with some melancholy through a green field. Frank is a foul-mouthed, violent sociopath whose orgasmic climax is a fit of both pleasure and rage. Though the plot may be plausible, the way its presented is still surreal in that uniquely Lynchian way- imbuing the mundane with dreamlike or nightmarish significance that rings out like the droning buzz noise he uses so often. Rossellini and Lynch … The setting of events (I'm mostly talking about the apartment) is incredibly odd. For instance, Jeffrey halts mid conversation to demonstrate an imitation of a chicken for Sandy, in which she laughs and they continue walking. Telling us again that below all these Rockwellian pleasantries lies something horrifying. 17. The darkness has been dispelled. I recommend you watch that clip before reading on and to keep it in mind (and even revisit it) as we continue forward. Very well said. Whether this adds anything or not, this is something I worked on dealing with the possible context for the image of the man in yellow being shot in the head; the question is not whether or not the hypothesis given is valid or not - but to demonstrate that circumstances surrounding this incredibly exotic, very memorable image may well be very mundane, the way this movie takes things that would be the very mundane components of another movie into something striking, a world that feels as if it's never been shown before. ...The world was dark because there weren't any robins and the robins represented love. Indeed, especially the later scenes with Frank get downright dirty in coloration - reinforcing this equation between the bugs from the opening and Frank and his pals that another user has pointed out. The main character just goes deeper and deeper into this mystery and it becomes a mystery thriller in dream land. A crucial reinforcement of what was merely hinted at before – sexual dysfunction. We further see this imagery shortly after during the scene where an old man is watering the lawn. Take the opening sequence, for example- everything there is real, but try finding a sequence like that in any other "realistic" film. If you want to use painting as a metaphor for film, think about your favorite artist. For Sandy... well, Sandy is just Sandy. LYNCH DISCOVERED ISABELLA ROSSELLINI IN A RESTAURANT. Hopefully this will unravel some of the film’s themes for you folks who have seen it and find it lacking or impenetrable. I love this post. And because there is something mysterious and even frightening under that blue velvet. An example of this is pointed out in Gonzales’ essay which makes reference to Jeffrey’s cognition of the Father as both a figure of horror and pity, which is conveyed visually when Lynch dissolves from a visually and aurally distorted shot of Jeffrey’s Father, Tom Beaumont, in a hospital bed connected to life support, to a slow motion image of Frank during the primal scene, howling into the night. Of course I disagree with that assessment, because I haven't even caught on to what was really going on in the filmmaking of Blue Velvet until I saw the film for the Xth time. Since when does David Lynch hit us over the head with stuff (besides "dad jokes" we've heard before)? The main thrust of the film is dealing with being caught between good and evil. Frank and Jeffrey have both taken the role of Dorothy’s son, longing for their mother’s love, but they have also both taken the role as her lover or husband. Now there’s an entire essay to be written on the importance of this song and how it relates to the film, but let’s leave that for another time. The actual plot line and the character of Frank were not things I took lightly. Think about how many other robins are out there. These are two Freudian theories that can be seen within Blue Velvet. So it is of little surprise that the generations of fillmakers that came after him took special note of his work. Here's an essay I co wrote for college about Oedipal themes and the Subconscious in Blue Velvet if anyone would like to read it. When he talks about Blue Velvet, he doesn't say the things everybody always says about it. Oh, I recall it, "weird for the sake of weird". Not only do the campy and dreamlike aspects of the film give it a unique edge as well as an occasionally beautifully romantic quality, they also highlight what the film is about. And for the longest time, there was this darkness. Saying that though I always think that the robin is so artificial that it makes me wonder how long this "victory" will last. Press question mark to learn the rest of the keyboard shortcuts. And look how undeniably amazing all of this is...". And these repressed sexual urges manifest themselves in Blue Velvet in to something truly disturbing. It's not real at all. Blue Velvet is one of the darkest films I have seen. What does the dreamlike vision do for the story? The cut from the bugs to the sign is intentionally a jarring one. A child approaches him as the dog repeatedly bites at the spraying water. Blue Velvet was released 30 years ago in 1986, but David Lynch’s woozy surrealist masterpiece doesn’t quite fit into that decade. Of simplicity and clarity of communication in a good discussion tense and stagnant feel think it all. 'S fetish objects is a town of patterns and where everything is expected to fall into.! 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