Wild at Heart

Starting with the outrageous and building from there, he ignites a slight love-on-the-run novel, creating a bonfire of a movie that confirms his reputation as the most exciting and innovative filmmaker of his generation.

Misfit cameos, apparently random asides and an almost continuous onslaught of unsettling sex and violence mean there’s no mistaking David Lynch’s hand behind the camera -- but there’s enough of a narrative to make this work as a straightforward road movie, too.

There is something repulsive and manipulative about it, and even its best scenes have the flavor of a kid in the school yard, trying to show you pictures you don't feel like looking at.

As a story, Wild at Heart is even less coherent than “Blue Velvet,'' to the point where whole characters and subplots disappear into a murky haze at the end. [17 Aug 1990, Arts, p.11]

This time, though, Mr. Lynch's conceits are less often pleasurably disorienting than out of focus.

One of the most violent opening scenes in screen history…Yet given such a visually adept exercise, the rest seems transparently off-the-cuff. There are obese trailer-camp porn stars, heavenly visions, a climactic rendition of Love Me Tender and no-point references to The Wizard of Oz - all of which top this two-hour farrago like a soggy tarp. [17 Aug 1990, Life, 4D]

At least (John) Waters cares about most of his freaks; for Lynch they're basically exploitation fodder for a puritanical "dark vision of the universe" that seems to come straight out of junior high, complete with giggles.

God rest David Lynch's soul. No one but Lynch could reinvent The Wizard of Oz in such a way, as a road movie, involving two dysfunctional, psychotic lovers on the run. Nicolas Cage, in one of his best roles, looks great singing Elvis Presley.

ça faisait longtemps que je ne l'avais pas vu et force est de constater que ce sont surtout ses défauts qui m'ont davantage sauté à la tronche que ses -pourtant- indéniables qualités... car après tout, on trouve déjà dans ce film une bonne partie des obsessions de Lynch, le partage entre le monde réel dégueulasse et le monde imaginaire, celui des rêves, idéal... des gens très méchants et d'autres très gentils... mais si vulnérables... Mais tout cela n'atteint pas un dégré aussi brillamment développé que dans ses autres films, quitte à ce qu'ils sombrent presque corps et biens dans le surréalisme plus ou moins abscons, délirant mais aussi globalement plus captivant que ce Sailor et Lula un peu trop nunuche, à la manière -regrettable- d'un Blue Velvet d'ailleurs. Cependant, malgré quelques (rares) longueurs, on apprécie toujours la belle mise en scène du gars Lynch, qui ne déçoit jamais à cet égard et déjà cet humour volontiers décapant, violent et sardonique dont il s'est fait une spécialité, la combinant avec le reste de son monde imaginaire et paranoïaque comme il sait si bien le faire. Quant à nos tourtereaux Dern et Cage, ils sont carrément idiots mais c'est évidemment à dessein comme une caricature plus ou moins ratée mais plus ratée que réussie, néanmoins... Dafoe est pour sa part hilarant et montre déjà l'acteur hors-normes qu'il est, véritable électron libre incontrôlable ! Faussement romantique ou véritablement imbécile dans ses quelques excès, le film reste très facile d'accès pour un Lynch mais un peu en retrait des autres oeuvres du metteur en scène illuminé.

Isn't Being in Love Inherently a Little Mad? Fleeing the Wicked Witch Across Yellow Highways to Reach a Rainbow-Lit Night of Love.240618 (2.5)You cannot approach this film expecting conventional logic. David Lynch's characters always possess an unhinged, spaced-out aura, requiring viewers to abandon every shred of demand for probability and simply take in the message and the flow as they are. Trying to dissect these figures rationally is futile. Though adapted from the novel of the same name, it carries Lynch's unmistakable signature, yet here I find myself writing once again to make sense of it all. The mad romance between leads Sailor Ripley and Lula Fortune is pure genius because they are so delightfully and unapologetically crazy in love. Laura Dern, departing from the cautious innocence she showed in "Blue Velvet", feels perfectly cast as a passionately wild lover, while Nicolas Cage looks wonderfully suited in his youthful vigor. The bizarre eccentricities typical of Lynch's work are translated here into a distinctly vibrant, sticky, and darkly humorous romance. Sailor and Lula share an unwavering trust that sharply contrasts with the treacherous Marietta. While Johnny burns with jealousy suspecting Marietta is cheating with Santos, and Marietta quickly berates Johnny for running off when things get messy, Lula never exhibits jealousy or insecurity during Sailor's absence. Even when Bobby Peru assaults and taunts Lula, Sailor never casts blame on her. Every time Sailor is released from prison, Lula waits with unconditional love and support; their mutual madness makes them deeply endearing. Marietta Fortune represents the Wicked Witch. Lula's mother hired her gangster lover Santos to burn her husband alive, cackling with glee as the house went up in flames—a laughter permanently etched into Lula's psyche as the witch's cackle. Marietta's attempts to kill Sailor after failing to seduce him, alongside her resentful glare toward Lula after her daughter was violated at thirteen by her husband's associate Uncle Pooch, show she views her daughter not with motherly affection, but as a sexual rival. Casting Laura Dern's real-life mother adds an extra layer of twisted fascination. Desperate to eliminate Sailor because he knows she commissioned her husband's murder and because he rejected her advances, Marietta orders hits through both her current lover, detective Johnny Farragut, and Santos. Driven mad by jealousy, Marietta smears red lipstick across her face while wearing the pointed shoes of the Wicked Witch. Sailor acts as Dorothy A, enduring hurricanes set off by Marietta from the start, while Lula becomes Dorothy B. The two Dorothys pour everything into their love, turning their nights into a journey over the rainbow to overcome the witch and attain peace, symbolized by their child Pace. When ordered over the phone not to see Sailor, Lula finally erupts in defiance; spilling water over Marietta's picture causes the image to vanish, much like the Wicked Witch melting upon contact with water. The homages to "The Wizard of Oz" are overt. Lula constantly hears the witch's cackle, and both Dorothys are swept into their odyssey by Marietta's storm. The dusty roads they traverse resemble the Yellow Brick Road leading to Oz, their nights are colored by diverse American music, and their love shines like a rainbow. In Big Tuna, the eccentric genius Beany Spool claims Toto is his dog, while real-life references mention a 1986 hurricane tearing off a school roof. After being violated by Bobby Peru, Dorothy B clicks her red heels together in tears, begging Sailor to sing "Over the Rainbow" when trapped. Their journey is reflected in the witch's crystal ball, and Bobby Peru tells Lula to sing rather than cry, echoing the musical roots of the classic tale. Music is inseparable from their adventure. Lula chooses lively tunes and dancing to escape the grim reality of a dirty world, with regional sounds emerging in every town—rock and roll, New Orleans jazz, gloomy jazz, and Texas country. The only musical moment for Marietta and Johnny is a mournful tune in an ornate French restaurant, starkly different from the music embraced by the lovers. Sailor's iconic snakeskin jacket stands as a symbol of individuality and belief in personal freedom. Pregnancy brings deep terror to Lula, who was treated as a sexual rival by her vain mother and received no nurturing care after her teenage trauma and abortion. Facing the fears of pregnancy and motherhood alone, she endures holding onto the rainbow candy necklace given by Sailor containing forty reasons why he loves her. The villains are gloriously unhinged: Santos's boss Mr. Reindeer indulges in pleasures surrounded by naked women; Juana and her subordinates Reggie and Dropshadow seem aroused by the spurting blood of their killings; and Bobby Peru acts with volatile rage, even if he feels slightly less terrifying than Frank in "Blue Velvet", offering a striking look at

although Im a huge lynch fan, this is a movie so plain and simple, trying to show more than it knows, and like you shut down too-much-talking-people, and some point you just want this movie to stop trying.

No trata de nada, no tiene historia, son escenas marcianas, solo mariguanos la apreciarian, lo unico bueno las escenas violentas y los desnudos