The sequence is Wild at Heart in microcosm, with the AM stations representing treacherous pitstops on the lost highways between a deep south correctional facility and sunny California, where Sailor and Lula hope to carve out some place for themselves. Romance pokes through the violence and discord like a bloom through cracks in the pavement. And then suddenly, the adrenalized thump of Powermad’s Slaughterhouse fades out and the lush strings of Richard Strauss overwhelm the soundtrack. As the two thrash along in the embankment – Sailor, with his karate-kick dancing style, seems like a terror in nightclubs – Lynch’s camera cranes upwards to a magic-hour sunset across the field. “Sailor Ripley, you get me some music on that radio this instant!” she screams, and he obliges, scanning past more talk-radio mayhem before landing, improbably, on a track by the Minneapolis speed metal band Powermad. I knew a boomer Lynch fan who thought that was one of the greatest lines in Hollywood history smh.Lula pulls the car over in disgust. That’s not limited to (but symbolized by) the f*ggot line which was never cool and aged like milk. Whatever archetype he was going for… he seemed more pretentious and insufferable (exactly how I found Michael Cera’s acting in The Return). Primarily I think Cage’s portrayal just really didn’t work for me. But somehow I set that aside when ranking the film. While I deride it, I simultaneously say it has a contender for Lynch’s best scene ever (willem Defoe “fuck me”). Does anyone really think it should be his highest-decorated film?! Not that establishment award ceremonies ever matter…ĭon’t kill me but at the time my reaction was “Baz Luhrman does David Lynch” and not in a good way □ I’m quite annoyed that’s the film that won Palme d’or for him. It’s been years and I owe it a re-watch, but I remember being disappointed.
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