![]() Indeed, in the land of Love, humanity melds with misery and wrecks havoc on the faint of spirit. Yet is can also be a place that pierces the heart and drains the soul. It can be a wonderland of untapped pleasures. Dreams have been known to go there to die, and nightmares can occasionally call it home. Those hobbled by hurt are miraculously cured while others stifled by sin are saved. In this jade green metropolis, senses are heightened and thoughts are opiates. If you're lucky enough to find it, if you can set your emotions to the right frequency and dive deeper into your core than you've ever traveled before, the rewards will be tremendous. ![]() It's a point on the compass unreachable by regular means, and legerdemain can only provide a minimal of guidance. The road there is not paved with yellow bricks, good intentions or those best laid plans that mice and men often fret over. There are no witches patrolling its borders, or munchkins manning its infrastructure. It may not contain a wizard, or an untamed set of flying primates. His essay “David Lynch at the Crossroads: Deconstructing Rock, Reconstructing Wild at Heart” was published in Music and the Moving Image in 2014.Somewhere, in the great, vast unknown of the universe, a real Emerald City awaits. His work has appeared in The, Bright Lights Film Journal, Film International, Moving Image Source, The New Orleans Review, and elsewhere. Mike Miley teaches literature at Metairie Park Country Day School and film studies at Loyola University New Orleans. It does not allude to The Wizard of Oz-it transplants the Yellow Brick Road to the American road, Highway 61 to be exact, making the search for Emerald City into the American Dream itself. The film is not about rock ‘n’ roll-it is rock ‘n’ roll. No matter whether you’re revisiting the film or seeing it for the first time tonight, I’d encourage you to read these motifs not as drawbacks but rather the film’s key components. ![]() Despite his assertion, Wild at Heart is the Lynch film that scholars and fans alike most often cite as a “a litter of quotation marks,” “a parade of surfaces behind which is no significant depth,” “a kind of cinematic vogue-ing that passes for the play of human emotions,” “a violent collection of images and clichés in search of stability and meaning.” While critics unleash most of their ire on the film’s absolutely bonkers ending (which I won’t spoil here), detractors save some venom for the film’s two major motifs, Victor Fleming’s The Wizard of Oz (1939) and 1950s rock ‘n’ roll iconography. Despite being surrounded by loss and destruction, no one can keep them apart, not even themselves.ĭavid Lynch has called his 1990 Palme d’Or-winning film Wild at Heart “a picture about finding love in hell,” which may be the closest Lynch has ever come to saying what any of his films are actually about. Their adventure climaxes in a lonely, remote place, where they meet a man in black whose presence will threaten their love for each other. In a supreme act of defiance, they grab their cigarettes, snakeskin jackets, and bubblegum hop in a classic convertible and barrel down a road littered with fatal car crashes, violence, and a doomed sense of romance. Synopsis: A sincere-but-damned rebel misfit and a sexually willing, independent woman fight her deranged, uptight Mama for the right to preserve their forbidden love. ![]()
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