David Lynch's "Blue Velvet"

There is something just so undeniably campy about David Lynch's "Blue Velvet." Poetic symbolism is pitted against B-movie dialogue:

-I found an ear.

-A human ear?

-Yeah. I thought I should bring it to you.

-That's right! Let's take a look at it. (Peers into paper bag.) Yes, that's a human ear, alright.

"Blue Velvet" is an arguably perverse story of sexual awakening that is joined with heavily stylized elements of classic film noir (a femme fatale, an evil man who just won't die, and a protagonist who tends to have flexible definitions of right and wrong depending on the day). Lynch was also clearly inspired by surrealist imagery, particularly an image from "Un Chien Andalou," as is evident in the disgustingly close closeup of the severed ear out of whch seem to emerge a colony of ants. In addition to this image, Lynch ties in other surrealist themes by use of flashbacks, dream sequences, and startling, unpredictable flashes of objects, people, and places.

"Blue Velvet" is essentially a tribute to two things: voyeurism/scopophilia, and the evil and perversity inside each of us. The clashing images of picture-perfect suburbia and extreme sadomasochism, among other violent behavior, were calculated by Lynch so as to leave no room for questioning the fact that evil and perversity can infiltrate everywhere and everything.

Laura Dern plays Sandy as earnestly and prudishly as she should. Sandy first emerges in front of Jeffrey from total darnkess in a manner very reminscent of an angel emerging from parted clouds. The religiously tinged nature of Sandy's revelation is further emphasized by her wardrobe (white or pastel, flowy) and by her role in Jeffrey's investigation of the mystery (an aide who feeds the college guy both valuable overheard information and longing looks). The most symbolic part of all, of course, is Sandy's dream of robins bursting through the darkness, which translates into love conquering all. The final scene, after all, is of a bird perched in front of the window through which Jeffrey and Sandy look out. In its fairly obviously mechanized beak it holds a beetle, and we know that evil has left for good. Well, kind of.

I haven't seen all of Lynch's work, but from what I have seen, I know that, like Jeffrey, this is one very curious dude who wants to discover that which is hidden. Lynch is fascinated with finding the absurd and abnormal in the mundane. Themes of psychology, mental illness, and memory loss dominate not only "Blue Velvet" but also "Mullholand Drive" (2001) and "Twin Peaks" (1990-1991). Just as Jeffrey (and the camera) peers into the hole of the severed ear and the screen fades to black, Lynch peers into the human psyche to explore the darkest, most inhuman aspects of humanity, and seems to be rather convinced that there is a bit of this perversity in all of us.

The theme of peering inside the depths of the mind (as well as just plain old peering) makes itself evident through theme, dialogue, and image. The ear itself is quite literally the passageway to the mind, and as the camera zooms in into the ear hole of the severed, rotting appendage, Lynch invites us to take a wild ride into the depths of human nature.