With fantasies of the past merging with the present, the contrast between Jeffrey and Frank is one that calls out the rebellious generation of youth that, in turn, came to influence future generations. The series of events in the film contains several symbolisms that will capture the attention of the spectator.

The mistake is to demand the answer. Massachusetts: Blackwell Publishers, 1998. Robert Julian (London: British Film Institute, 1995), 93.

The most obvious example of this relationship occurs at the beginning of the film, where after presenting successive picturesque images of this ideal middle-American town, the camera tracks through the sculpted veneer of a lawn to reveal a swarming, chaotic mass of violence beneath. Such contrasts carry into the overall juxtaposition within the film, pairing the real and the fantastical side by side, integrating into one another and forming an alternate reality that feels debilitatingly honest. The story starts as Jeffery Beaumont (Kyle MacLachlan), discovers a severed ear in a field behind an apartment building. The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child. Frank represents the bane of a contradicting system, which reminisces of a fonder lifestyle, while never accounting for the reality of such a lifestyle. Indeed, the spectator is brought closer in that perfect reality, discovering the evil behind: the old man who gives water to the meadow can have a heart attack at any moment, and that green grass hides an aggressive world made of insects fighting against each other. The two-hour version that reached the screens had many details implied that were never fully explained to the audiences unless you pay very close attention to the dialogue and the subliminal text.
Taglines “Welcome to Lynchtown.” In David Lynch, translated by Robert Julian, 83 – 119. Despite the intense sexual and violent energies Lynch brings up in this scene, there is a certain humour in witnessing such a literal enactment of Freudian clichés. All right.

Evil, in Blue Velvet, has no explanation, doesn’t offer the depth of meaning. There are obviously the good boys, Jeffrey/Kyle MacLachlan and Sandy/Laura Dern, but they are represented as young people with few experiences, intrigued by a world they don’t know, a world that in some respects they fear, but that can teach them something. But the real message behind those symbols can be caought only on an irrational level. With local police detective Williams and the local police department unable to investigate, Jeffrey and Sandy, Detective Williams's daughter decide to do their own investigation. Lynch, David. Literally, the supersaturated brightness of the red tulips and yellow daffodils, set against the white picket fence make the blackness of night seem thicker and more impervious. 13 Michael Chion, “Welcome to Lynchtown” (chapter in) David Lynch, trans. Once Don tried to straighten up his life and work as a mole for the police, Frank kidnapped him and Dorothy's son as leverage, and becoming obsessed with her in the process. Through an analysis of formal and thematic elements, this essay will examine how Lynch organizes Blue Velvet’s narrative according to binary structures. Create a free website or blog at WordPress.com. Some have even linked Jeffrey's journey to Freud's theory of the three parts of the psyche, even though Lynch has never confirmed this or talked about it - his writing process is much freer than that. She is interested in the boundary between cinema and installation art. Except, as seen in many films, Jeffrey toes the line of morality and alters between romantic and beast, only to become a traditional hero in the end. 2 David Lynch in Michael Chion, “Welcome to Lynchtown” (chapter in) David Lynch, trans. In the dream, there was our world, and the world was dark because there weren’t any robins and the robins represented love. Chion, Michael. | 67, no. Related: David Lynch's 10 Best Movies, According To Rotten Tomatoes.

He plays with these conventions not only through exaggeration, but also through an interruption of sorts. The peculiarity of Blue Velvet is precisely this: while it’s still a thriller story with real characters, it looks like a concert of symbolisms that try to interact with each other. By navigating this website, you agree to use cookies. Utilizing Jeffrey’s shift through experiencing such nostalgia firsthand evokes what David Lynch does best: taking our deepest fears and weaknesses and putting them on display through a system that doesn’t feel sprawling, but instead constricting, suffocating, and altogether encompassing in the most honest and humane ways possible. The danger in becoming a product of someone else’s vision or message—which Jeffrey very much becomes. ( Log Out /  In this dream, robins come down from the sky to devour insects that have taken over the world. Frank cutting off Don's ear was a result from his previous life as a dealer. And while Sandy (Laura Dern) is a stylized, sexualized evocation of the “dream girl”, Dorothy (Isabella Rossellini) is a raw, unglamorized portrait of reality’s worst outputs. In Lynch’s hands, day is like a state of constant overexposure, where consciousness is unable to turn inwards and pulsates only at the level of surface.