Introduction Blue Velvet is an American movie that was made back in 1986 under the directorship of David Lynch and creatively showcases elements of noir and surrealism. The Movie’s title Blue Velvet, featuring Kyle Maclachlan, Isabella Rossellini, Dennis Hopper, and Laura Dern, was picked from the 1963 Bobby Vinton’s song, which bore the same title. The Movie has successfully portrayed a surreal and convoluted amalgam of erotic and perverse elements of desire. The Movie presents this desire as a function of inflicted pain that paradoxically provides the gratification of gross sadomasochism (Chion 121). The Movie earned David Lynch his second nomination to the Academy Awards in the category of Best Director. The gist of this paper, therefore, is to offer psychological criticism of the Movie as regards its screenplay, plot, direction, and general presentation, and this is done by applying the Freudian Theory of Psychological Analysis to critique the various Freudian elements of psychoanalysis. It is a widely held perception by many modern critics today that Blue Velvet is a representative of modern film noir shot around the same time that similar movies started being shot and shown in local cinemas, and this was around the 1980s to the mid-1990s. For a proper psychological criticism using Freudian Theory, the main character will be discussed and various aspects about how the concept of id, superego, ego, a complex of castration and Oedipus complex is presented by the character and his assisting characters throughout the Movie (Chion 45). Film analysis This film is centered on Jeffrey, who is a college student. One day on his way home from visiting his sick father from a local hospital sees a human ear on the way near his home in Lumberton, which was his hometown. His investigation finds great assistance from Sand Williams (who is a high school student) and comes in handy, providing Jeffrey with information from his (Sand’s) father, who is a local police officer. Jeffrey’s investigations lead him to the underworld of his home town where he falls in love with a singer with whom they further uncover more criminal activities. The main traits of this character, as depicted by the narrator, are a sexual perversion, sadomasochism, and stubborn defiance of regulation. It is easy to depict the various elements of Freudian psychoanalysis in this Movie from the behaviors of Frank, who is the psychotic prototype in the Movie. These elements include infantile sexuality, different degrees of pervasion, and extreme display of masochism from the same character (Chion 96). Blue Velvets has a number of themes that make it eccentric, save the initial perception of mystery that it had when it was first introduced in the market. Here the Movie owes this peculiarity to the 1950s film noir, which at the time incorporated concepts that ventured into conventions like female fate, questionable and valiant outlook on the morality of the central character in the Movie, and finally, a benign touch of shadowy cinematography operates on a number of thematical levels in spite its initial appearance as a mystery movie, where it owes its specialism to 1950s film noir, encompassing and venturing into such conventions (Chino 128). Psycho