Lost Highway
Tags: dark, avant garde, neo noir, murder, mystery, boring, cult, violence, atmospheric, clever, insanity, psychedelic

Plot synopsis:
In the opening scene, Fred Madison (Bill Pullman), a saxophonist, is seen sitting in his house one morning, smoking a cigarette, looking disheveled when the intercom from the front door of his house buzzes. Over the intercom, a distorted man's voice says: "Dick Laurent is dead." When Fred looks out a window, police sirens are heard in the distance, but the streets outside his house are empty.Fred's wife Renee (Patricia Arquette) opts out of coming to the club to watch him and his band play; instead she plans to stay at home and read, an excuse Fred obviously finds flimsy. Red-faced and sweating, Fred plays discordant acid jazz at the Luna Club while the audience goes wild. He calls his house during a break, but Renee does not answer (several different phones at the house are seen to be ringing). Arriving home later, Fred sees Renee asleep in bed. Fred's expression shows his lingering doubts about Renee's faithfulness.The next morning, a mysterious package arrives on the front doorstep containing a videotape. Renee doesn't mention the tape, but Fred sees it and demands that they watch it. The tape only displays a 20-second image of the outside of their home. The relieved Renee tells a perplexed Fred that the tape "might have been from a real estate agent."One night Fred tries to make love to Renee, but gives up in failure, humiliated when she pats him on the back and dispassionately consoles him. He tells her about a dream he had: she was crying out for him, "Fred, where are you?" He couldn't find her and says that he saw someone in bed that looked like her but wasn't her. The Renee in the dream screams in terror as Fred approaches her in bed. Fred then seems to wake up in bed lying next to Renee, but when he turns to look at her, he sees not her face but the pale, frightening looking face of a man superimposed on her silhouette. Bill startles out of the nightmare, now fully awake for real.As the days pass, a second tape arrives, showing the interior of their house-- the unseen intruder also films them in bed, sleeping. Fred and Renee call the police. Two detectives, Al and Ed (John Roselius and Louis Eppolito), watch the video. They recommend that Fred and Renee resume using their security system, and search the house for signs of forced entry. The departing cops say "We'll keep watch over the house. We'll do the best we can," having neither found nor resolved anything.That evening, Fred and Renee go out to a party held by Andy (Michael Massee) an old friend of Renee's. Renee drunkenly stumbles, giggling, into Andy's arms while pleading with Fred to get her another drink. A jealous Fred goes to the bar for a drink where he meets a Mystery Man (Robert Blake), who tells Fred that they've met before and that he is at his house right now. It was in fact the face of the Mystery Man that Fred saw in place of Renee's in his nightmare. Fred phones his house and the voice of the Mystery Man answers at the house while he's standing right in front of Fred. Shaken, Fred asks Andy who the Mystery Man is and is told that he is a friend of Dick Laurent. When Fred repeats the message he heard on the intercom, that "Dick Laurent is dead," Andy nervously asks how Fred knows Dick Laurent and insists that "Dick can't be dead." Fred then forcibly grabs Renee and they leave the party.Driving home, Fred questions Renee about Andy and her past connection to him. Renee answers vaguely, failing to alleviate Fred's jealous suspicions. Arriving back at their house, Fred makes Renee wait in the driveway while he checks inside for intruders and finds no one. While Renee prepares for bed and removes her makeup in the bathroom, Fred walks around the dimly lit house and finds himself standing in front of a dark hallway. Fred walks down the hallway and disappears, eventually encountering a mirror reflection of himself. Renee walks out of the bedroom and stands at the base of the hallway. She calls out for Fred, just as in his dream, earlier. Shortly before Fred emerges from the darkness of the long hallway, we see a shadow moving through another part of the house.The next morning, another tape arrives and Fred watches it alone. To his horror it contains gory images of him killing Renee. Time jumps abruptly and suddenly Fred is being beaten in an interrogation room by the same two detectives, Al and Ed, who earlier offered to watch the house and now accuse him of killing his wife. A terrified Fred claims that he didn't kill Renee. But seconds later he becomes confused and pleads to the detectives, "Tell me I didn't kill her!"Tried, found guilty and sentenced to death, Fred, still dazed and confused, is locked away on death row for the murder of Renee. Shortly after arriving, Fred is plagued by frequent headaches. After he collapses in the prison yard, he's brought into the infirmary where he complains to the prison doctor that he can't sleep. The doctor doses Fred with a sedative and he's locked back in his cell, where his headache continues to rage and he hallucinates strange visions of the Mystery Man, a burning cabin in the desert, and a dark stretch of highway.The next morning, during a routine check of the cells, the prison guards are shocked to find that the man in Fred's cell is not Fred. The man is discovered to be Pete Dayton (Balthazar Getty) a young, confused auto mechanic whom the prison officials discover has a past record for auto theft. Since Pete has committed no crime aside from the auto theft five years earlier, he is released into the care of his parents Bill and Candace (Gary Busey and Lucy Butler), who come to collect Pete dressed like bikers in black leather jackets, jeans and dark glasses. The Dayton family return home to their house in Van Nuys. At the same time, Pete is being followed by two detectives, named Hank and Lou (Carl Sundstrom and John Solari), to find out why and how Pete ended up in Fred Madison's prison cell.Pete goes out that evening with his friends Steve V (Giovanni Ribisi), Teddy, (Scott Coffey), Lanie (Heather Stephens) and Carl (Al Garrett) along with Pete's girlfriend Sheila (Natasha Gregson Wagner). At a bowling alley with a bar in the back, they have drinks and dance. Sheila asks Pete about his whereabouts for the last several days, but Pete can't remember.The next day, Pete returns to work at the garage where he is welcomed back by the owner Arnie (Richard Pryor) and his co-workers including veteran mechanic Phil (Jack Nance). Pete is called on by Mr. Eddy (Robert Loggia), a charming but hot-tempered gangster, to tune up his Mercedes. Mr. Eddy takes Pete for a drive so that he can listen to the problem in the engine, during which a motorist tailgates their vehicle, causing the gangster to erupt into a fit of road rage. Mr. Eddy chases down the tailgater, forces him off the road, drags the man out of his car and pistol whips him while berating him about road safety, a display of violence that shocks Pete. Mr. Eddy drops Pete back at the garage where he is spotted by the two detectives, Hank and Lou. Hank identifies Mr. Eddy as a certain criminal named Dick Laurent.Hank and Lou follow Pete when he goes out that evening with Sheila. As the couple make out in Pete's car, she questions him on his moody behavior, but Pete maintains that he is just as confused as Sheila about recent events.The next day, Mr. Eddy returns to the garage with his Cadillac for Pete to repair, accompanied by his beautiful blonde girlfriend, Alice Wakefield (also Patricia Arquette). She and Pete make eye contact and we feel the chemistry ignite between these two characters. At the end of the day, Alice returns to the garage and invites Pete out for dinner. Against his better judgement, Pete begins a secret liaison with Alice, meeting her at the Starlite Motel. Hank and Lou continue to keep tabs on Pete, his affair with Alice giving them even more reason to connect him with Mr. Eddy / Dick Laurent and possible criminal activity.As the days wear on, Pete begins to experience headaches and hallucinations similar to Fred's. When Alice phones Pete to cancel their nightly get-together, Pete instead rides his motorcycle to Sheila's house where he has rough sex with her, driven to satisfy passions awakened in him by the hot-blooded Alice.Pete returns home to find his worried parents waiting to confront him about the night he vanished. Pete continues to claim that he has no memory about that night, except for flashes of being on the front lawn of his house with Sheila and his parents running after him. Bill and Candace indicate that they saw more but refuse to discuss whatever they saw with Pete.The next day, Mr. Eddy pays Pete another visit at the garage where he brandishes a gun while making a veiled threat on Pete's life. He claims that he would kill anyone whom he caught fooling around with Alice.After work, Pete secretly visits Alice at the Starlight. She tells him that Mr. Eddy suspects her and Pete of seeing each other. Alice reveals to Pete that Mr. Eddy is actually a porno producer named Dick Laurent. She tells Pete a story about how Mr. Eddy coerced her into a relationship with him by literally holding a gun to her head, but Pete remains unconvinced that Alice is only a reluctant partner in this relationship, insisting "you liked it, huh?" Alice presents Pete with a plan to steal money from a friend of hers so they can leave town. She tells Pete that on the following night, she will meet with Mr. Eddy's associate Andy (the same Andy who knew Renee in the first half of the story) at Andy's house. She'll facilitate Pete's entry into the house so that they can both rob Andy and use the money to run away together. Pete is wary of trusting Alice, but also overwhelmed by his desire to have her.That same evening when Pete comes home, he is confronted by an enraged Sheila over his infidelity. She accuses him of being "different," and tries to persuade Bill and Candace to tell Pete the truth about "that night," but they remain close-lipped. As Sheila runs off into the night, the phone rings inside Pete's house. The caller is Mr. Eddy, who, along with his associate, the Mystery Man, threatens Pete again, this time more directly. Frightened, Pete calls Alice and agrees to help with her plan.The next night, Pete sneaks out of his house and away from the two detectives in their squad car. He takes a local bus to Andy's house and enters through the back door that Alice has left unlocked. As planned, Alice sends Andy downstairs to fix her a drink and Pete knocks him unconscious. On a huge projection screen in the center of the living room, a porno of Alice having sex plays in a loop. Pete also sees a framed group photo of Andy, Mr. Eddy, Alice and Renee, and asks Alice whether the nearly identical women are both her. She simply points to the blonde woman and tells Pete that it's her, mentioning nothing about the dark-haired Renee. Andy comes to and attacks Pete. Pete pushes Andy off of him, throwing the man across the room where he impales his forehead on the corner of a glass coffee table, a freak accident that kills him instantly. Pete, now suffering a nosebleed, is horrified by the nasty turn of events, but Alice seems untroubled, coolly removing Andy's jewelry and gathering other valuables. Pete stumbles upstairs, hallucinating a motel where a nightmarish version of Alice taunts Pete while having sex with a faceless man.Pete and Alice flee in Andy's red sports car. They arrive at a cabin in the desert seen in both Fred's and Pete's visions. This is where Alice plans to meet the "fence" who will give them cash for the stolen goods. Alice looks around but finds the cabin empty. While waiting for the arrival of the fence, Alice and Pete make love on the desert sand. In the throes of passion, Pete whispers to Alice over and over that he wants her. Alice finally replies coldly: "you'll never have me."Alice gets up and walks away, stark nude, into the desert cabin, leaving Pete lying on the sand. The man who rises from the sand is not Pete, but Fred Madison, who seems to have exchanged places with Pete once again. Fred puts his clothes on and searches the desert cabin. He sees no trace of Alice-- instead he meets the Mystery Man again, who angrily informs Fred that Alice's name is not Alice, it's Renee, and demands to know who Fred is. The Mystery Man then points a video camera at Fred and begins to film him, slowly coming closer and closer. Fred flees the menacing gaze of the man and the camera, running back to Andy's car and driving away just before the Mystery Man's outstretched arm reaches him.Fred drives to the Lost Highway Motel, a nightmarish place in the middle of the desert, and sees Renee check into a room with Mr. Eddy / Dick Laurent. Fred enters the adjoining room and hears them having sex. A while later, Renee leaves Mr. Eddy and drives away. Fred then breaks into Mr. Eddy's room and grabs him. The Mystery Man watches from Fred's room as Fred forces Mr. Eddy into the trunk of the Mercedes and drives off.Somewhere in the desert, Fred stops the car and gets out to open the trunk, at which point Mr. Eddy leaps out and attacks him. The Mystery Man suddenly appears and gives Fred a knife to slash Mr. Eddy's throat. In answer to Mr. Eddy's question "What do you guys want?" the Mystery Man produces a mini TV, the screen of which shows Renee and Mr. Eddy watching a snuff film while engaged in foreplay. The Mystery Man shoots Mr. Eddy to death and whispers something inaudible to Fred. The Mystery Man disappears and Fred (now holding the gun) drives off in Mr. Eddy's Mercedes, leaving Mr. Eddy's body in the desert wilderness.Back at Andy's house, all four of the detectives, Al and Ed, Hank and Lou, investigate the crime scene. One of them notices the group photo of Renee, Mr. Eddy / Dick Laurent and Andy. Alice is no longer in the photo. The detectives identify the woman in the photo as Renee, "Fred Madison's wife" and note that the photo links her with Dick Laurent. However, the fingerprints all over the crime scene belong to Pete Dayton, now the prime suspect in Andy's murder. One of the detective's states: "You know what I think? I think there's no such thing as a bad coincidence."In the final scene, things come full circle as Fred, still driving Mr. Eddy's Mercedes and wearing Pete's clothes, drives to his house where it's revealed that he is the person who left the cryptic message Fred heard through the intercom at the beginning of the movie: "Dick Laurent is dead." The two police detectives, Al and Ed, pull up in their squad car. Seeing the detectives advancing towards him, Fred runs back to his car and drives off with the detectives in hot pursuit. As darkness falls, Fred speeds down the desert highway with several police cars close behind. He screams as his head begins to shake and his features blur. The scream fades and we're left with the image from the opening credits, a dark, two-lane highway that rushes silently past with no surrounding landscape or apparent destination.

Review: This is, in my opinion, what good art can do.Like a dream, Lost Highway has as many plots as it does viewers with their own individual interpretations and perspectives.
Lynch himself uses the phrase 'psychogenic fugue' when describing the movie as he says the hero is 'inventing a fantasy because his real life is so screwed up.' Patricia Arquette is more blatant when describing the film; 'Fred Madison is a f@#$ed up guy who invents a fantasy because his real life is so f%$#ed up.
As so often with David Lynch's movies, 'Lost Highway' doesn't bother with a traditional narrative and follows its own, dreamlike (or nightmarish) logic.
While it is fun to analyze Lynch's movies, especially his most surreal ones, they're not mysteries that require resolution in order to be enjoyed.As for the filmmaking itself, the pacing is fantastic throughout, the cinematography outstanding and the cast of character actors like Bill Pullman, Robert Loggia and Patricia Arquette simply a joy to watch (especially Loggia gets to shine in a wonderfully over-the-top part).
The orginal score by Angeolo Badalamenti (who is to Lynch what John Williams is to Spielberg) is hauntgingly beautiful, but equally important is the amazing soundtrack - featuring greats like David Bowie, Lou Reed, Rammstein, Marilyn Manson, Trent Reznor and more - which fits and enhances the images on screen perfectly.As far as I'm concerned, this is Lynch at his best.
'Lost Highway' is a dark, violent, surreal, beautiful, hallucinatory masterpiece: 10 stars out of 10.Favorite films: IMDb.com/list/mkjOKvqlSBs/Favorite TV-Shows reviewed: imdb.com/list/ls075552387/Lesser-Known Masterpieces: imdb.com/list/ls070242495/Favorite Low-Budget and B-Movies: imdb.com/list/ls054808375/.
One of the most eery parts of the film is when (Bill Pullman) is making love to his wife (Patricia Arquette) and her face turns into the mystery man (Robert Blake).
All part of a long dream, that I doubt anyone can decipher, including Mr Lynch.Seeing this film for the second time with a person who truly did not "get it" (though I thank her for her patience to watch the whole film), made realise that there are two kinds of people in this world.
"Lost Highway" is a great many things, but often seems to be reduced to a love-it or hurts-my-head-from-the-confusion, so-I'll-just-dismiss-it kind of movie.
Myself, I'm not one to offer any new insight, I view it as--SPOILER AHEAD??--a purely subjective movie, with nearly all the events seen and largely imagined by its protagonist, Fred Madison, and once you can simply accept him as insane (or at least very imaginative!) you can simply quit puzzling over it and allow yourself to enjoy the ride.While incarcerated for killing his wive in an act of jealousy, he embarks on a "psychogenic fugue" as an act of last-minute escapism from the looming dread of his upcoming execution--sort of like Ambrose Bierce's "Occurence At Owl Creek Bridge"--imagining himself as a younger, more likable/worthwhile guy (valued auto mechanic, "Mr. Eddy's" favorite), with people who care about him (his parents and girlfriend, as opposed to his real-life murdered wife who didn't even bother to go to his musical performances), and definitely more virile, as he is able to both attract and fulfill his "wife" (seen here as the slutty, icy femme fatale-type he always suspected her to be).
The cast is impressive and do a great job; Bill Pullman definitely has the haunted, deer-in-the-headlights look that his confused, out-of-it character requires, though at the same time I don't know if he quite portrays the extreme jealousy and animal savageness deep down inside that caused him to murder his wife as gruesomely as he did (if of course you even want to accept what was on that final videotape as something that actually happened in the first place!).
Needless to say, the whole moebius-strip "twist" of having the film end at its beginning greatly complicates any interpretation; even without it, the film could STILL be difficult to decipher by some (heck, I'm still not even really sure what the significance of the Mystery Man was!)Perhaps the film could have benefited from a few extra scenes or lines of dialogue to make it a little less cryptic for the more literal-minded members of the audience, but still, even by suggesting that you'd be implying that there was one concrete explanation for the film, which there most certainly is not.Regardless, all plot and interpretations aside, you can almost certainly enjoy for its images, its music (an EXCELLENT soundtrack), for its mood and atmosphere, and simply for it as a whole: dare I say, it's almost more of an experience than anything (though for what it's worth, at the same time I can't think of the last time I saw a film--or work of art period, for that matter--that provoked such a wide variety of interpretations and opinions, as should hopefully be the case with ANY great work of art).Fascinating..
What do YOU make of it?"  It's an incredible artistic attitude, much like viewing a Dali painting as opposed to a Da Vinci, and not for everyone's tastes.Lost Highway is open to many interpretations, as are most of Lynch's works.
I believe that even David Lynch that directed and wrote "Lost Highway" does not have answers for all the mysteries of the plot.
Possibly the most underrated of all his films, and certainly one of the biggest cult hits.The film stars Bill Pullman as a disturbed jazz saxophonist named Fred Madison, Patricia Arquette as both his mystical black-haired wife and Mr. Eddy's stunning blonde-haired girlfriend, Balthazar Getty as a young mechanic named Pete Dayton, Rogert Loggia as the powerful Mr. Eddy, and Robert Blake as the ever-so-creepy Mystery Man. The film also features some interesting cameos from Richard Pryor, Giovanni Ribisi, and Gary Busey as Pete's father.The film flirts with such ideas as reincarnation and psychogenic fugue.
This film was the start of an original and trademark style of Lynch's, the style which would make his films recognizable based merely on the use of camera-work and lighting.With Lost Highway, Lynch reinvented the usual film narrative in a way which put the viewer directly into the driver's seat of a delusional and/or unstable mind.
I've lost count of how many times I have watched this film and been mesmerized by it in new and different ways each and every time, and this time was no exception -- seeing it on a big screen with a proper sound system and a proper audience revealed many bits that I had not thought about upon previous viewings and, given the opportunity, I would recommend everyone else reading this do the same (regardless of whether you liked, disliked, were just confused by, or haven't seen it at all).I should mention that David Lynch is not my favorite director, and I am not some Lynch fanatic who gobbles up every last drop of pretentious nonsense the guy will drip.
As a stand-alone piece of cinematic art, it simply demands that you drop whatever pretensions you have with David Lynch the auteur and engage it upon its own terms....As a side note, I have to mention that my favorite line in the film has to be the only line uttered by one of Mr. Eddy's henchmen during the scene with the tailgater, spoken rather quietly while Mr. Eddy is screaming at the top of his lungs: "Tell him you won't tailgate." You might not even notice it the first time, it's just so oddly placed.
I guess Lynch thought that this film would be more true to life (or at least pretend to give it some sense of realism, which it doesn't) if he had his actors take those long pauses, but again, he made another huge miscalculation: people in real life do not talk like that!
The only characters that were memorable were Bill Pullman's character Fred (but this performance left much to be desired), and the creepy man with the video camera (too bad he wasn't in the movie for longer).My rating: 1 out of ten.*Side note:  "Lost Highway" rivals "Castle Freak" for worst film I've ever seen.
Calling home on the Mystery Man's cell phone Fred is answered by the Mystery Man himself who seems to be at two places at the same time!As both we and Fred are trying to figure what exactly is happening in this weird movie that were watching he's suddenly arrested for the murder of his wife Renee and put on death row, without the benefit of a trial and conviction, waiting execution.
If it wasn't for Fred coming back on the scene later in the movie I had the feeling that actor Bill Pullman walked off the set being disgusted in what he was offered to play in the film and was replaced by actor Balthazar Getty without the writer/director David Lynch not bothering to re-shoot the scenes with Pullman in them!It turns out that Peter is a crack a jack car mechanic working at Arnie's, played by a wheelchair bound Richard Pryor, garage who's very well regarded by gangster Eddy aka Dick Laurent, Robert Loggia, for his mechanical abilities in fixing his car.
It's just then Peter turns into Fred and the Mystery Man, camcorder in hand, shows up together with a couple of cops looking into Renee's, remember her, murder and what at first seemed like a dream or better yet nightmare becomes a reality.Very strange movie that doesn't make any sense at all until the ending that gives you the impression that it was all some kind of hallucination on Fred's part.
As the mysterious saying at the start of the film "Dick Laurent Is Dead" takes on a whole new meaning when it's repeated, by Fred, just as "Lost Highway" finally, after 135 minutes, comes to an end..
I love him so much that I put off seeing Lost Highway for over a year because it was the only David Lynch film I was yet to see.
Also, the revival of Twin Peaks was enough to pique my David Lynch anticipation meter to breaking point so I finally gave in and stuck in Lost Highway.Firstly, I don't think it's as grossly strange as some people make out.
Don't get me wrong, there's still a lot to love it just feels less Lynchy and more straightforward, and the Pete Dayton story is the biggest chunk of the film.There are still some spectacular sequences though, including a mysterious gangster getting road rage and Patricia Arquette's intriguing Alice character.
Thankfully for us weirdos things do start to get extremely strange towards the final half hour of the film before breaking down into total chaos until your mind finally explodes.Lost Highway is extremely puzzling in a similar way to Mulholland Dive.
No one makes films that make you feel quite like David Lynch does.
I think i finally get the point of David Lynch after seeing this movie again (first time around i though it was a bit pointless and artsy like everyone else).
The one little thing that finally made the film register for me was the Islamic tattoo on Bill Pullmans hand that you have to strain to see in the party scene, thereafter everything fell into place : The born again thing when he turns into Balthazar Getty, the introspection at the beginning when he finally discovers himself by watching the video tapes, the demon/demonic angel he meets at the party and dispatches Robert Loggai to hell after showing him his sins (on a portable TV), Gettys vision of hell in the mansion (now i know why Marilyn Manson appears in that sequence) and at long last i get the ending.
What a lame movie it would be if it were.David Lynch fans tell me that sure, this film is okay, but I wouldn't like it so much if I'd seen some of Lynch's REALLY good stuff (`Eraserhead' and `Blue Velvet' are the ones appealed to).
One thing I love about David Lynch is that, while some of his obsessions (thematic and visual) appear over and over again in his films, he doesn't seem to repeat himself or to be in a rut (as opposed to an artist like, say, Laurie Anderson, who I think made her best statements in the 70s and has been doing the same thing ever since).Lost Highway features some of the same elements as the later _Mulholland Drive_: the structure that "turns itself inside out," the blonde vs.
wait until you've travelled down the 'lost highway' with Fred, Renee, Pete and Alice.Special mention to Robert Blake for his portrayal of 'the mystery man' - one of cinema's truly terrifyingly creepy characters..
Of Lynch's movies, I think this is my favourite so far; the story makes sense to me (in a weird Lynchian way) and the elements of the narrative comes together quite cohesively to give a satisfying conclusion.
Lynch always knows how to fools and surprises us, never makes us uninterested or bored, he always pushes the envelope and "Lost Highway" is filled with those bizarre moments where you keep saying "Hold on!" trying to connect all the dots and process all the information given to you throughout the experience.The greatest example of how to make an audience really connected with a film, surprised, shocked and excited at the same time is the classic meeting between the mystery man with Bill Pullman, where everything surrounding them stops, silence for a moment and then it's surprise after surprise.
any new movie for David Lynch means a new discovery,a new vision of film-making,a new nightmare as i have mentioned before.he is my favorite director of all decades.above Hitchcock,Ford,Hawks &...
he follows his method of film making without any mistakes and does not care about others.he gives the final conclusion to the viewer and wants him to think and analyze what he wants.i refer you to his very early movies like Eraserhead or Elephant man.he goes as strange as it gets.and sees no further description to destroy viewer's mind .how many movie directors do you know in the world that does the same job???
about Lost Highway i cant judge very simple,it is most strange,most Disturbing.so it is not that simple to review on this picture.it faces Fred Madison's(Bill Pullman) nightmarous life.a jazz man who always suspects his wife Renee(Patricia Arquette).Fred lives within a dark condition of life.he supposes his wife that has a close affair with Dick Laurent(Robert Loggia).a porno firm maker and a gangster.and while having sex with Renee he always sees a terrifying face who is Mystery Man(Robert Blake).he receives video tapes from inside his own house that shows Fred that has massacred Renee and for that he goes to prison.by being on the prison Frad changes to Pete(Balthazar Getty).a mechanic who has no clear idea what he does in the prison...
When Good Weird Goes Bad. Watching Lost Highway is like watching a film made by someone trying to emulate a David Lynch film and failing.
This film feels like an imposter.Dissecting and deciphering a David Lynch film is usually fun stuff but trying to figure out Lost Highway is an exercise in futility and frustration.
With Lost Highway I get that sinking feeling that Lynch knows no more than I do about the mysterious world he created.
After recently re-viewing 'Lost Highway' I'd say it has surpassed 'Blue Velvet' as my favourite David Lynch movie, and would go as far as to say that it is his definitive statement (so far).
i really like lynch, the elephant man is awesome, so i take the movie from the store an I start so see Lost Highway with the idea of a very good night of movies, but Oh My God...An horribly photo direction, the worst music selection ever (please, rammstein an Marilyn Manson are good, but not in this way).
Lost Highway isn't one of Lynch's better known films.
"Lost Highway" is a David Lynch film from 1997 and, like most David Lynch films, it's hard to describe, hard to understand, and even after you've described it, you haven't told anyone what it's about because it's not about what you just described.Bill Pullman is Fred Madison, a saxophone player sitting on Death Row for the murder of his wife (Patricia Arquette).In the beginning of the movie, a tape is delivered to Fred and Renee's home.
In Fred's dream, Pete sees The Lost Highway Hotel, where Renee had liaisons with Dick Laurent (Robert Loggia), who heads a crime syndicate.If you just sat through this film, you wouldn't have any idea what was happening except that it's dark and strange and the characters seem to wind up as other people.
Lost Highway, even by David Lynch standards, is a strange, schizophrenic movie.
Yet, 'Lost Highway' has that surreal feel of fear and suspense that one associates with most of Lynch's films and the story presents themes such sex, murder, desire, obsession, jealousy, betrayal and doom which have been a key part of the director's other movies.
The story is hard to follow and confusing like most David Lynch films.
It is like making a film by yourself.Everything is reasonable about your comments no matter what you think and what you say.I want to compliment Lynch, this movie will be enough for you about the cinema.Just watch it and never watch any other.
I should write 10 lines to submit my comments.I can write more than 10000 lines which are irrelevant just like Lost Highway.You can not relate two things in the film, every point is a movie by itself.
Lost Highway is one of my most favourite movies.The story is about Fred Madison (Bill Pullman) who plays the saxophone.
My Rating : 9/10If you are curious about what a nightmare is, watch this movie!Inspired by classic film-noir and O.J Simpson's case, David Lynch's 'Lost Highway' is his ultimate style statement as a director.
Lost Highway is another Lynch film that captures the blurred line between dreams and reality.
It's not very different in Lost Highway except that the pieces of the narrative that we're given are even more of a mystery, which makes the film so good and almost satisfying.