Cool and happenin’ jazz musician Fred (Bill Pullman) lives a pretty fine life with his lovely wife (Patricia Arquette). But for some reason, he constantly keeps on thinking that she’s having an affair, driving him to go a little bit nuts in the head. However, he is shocked when he discovers that she’s dead and is being framed for it all, without he himself knowing whether or not he actually did it. Meanwhile, I think, there’s a young mechanic named Pete (Balthazar Getty) who is suddenly drawn into a web of deceit by a temptress (Patricia Arquette) who is cheating on her gangster boyfriend (Robert Loggia). Are these two tales linked? And if so, by what?
Lost Highway is, no surprise, another one of David Lynch’s mind-benders that probably takes more time to watch and decipher it, again and again, than is probably necessary. However, there’s also some fun to be had in that, what with the movie not forgetting to constantly throw small hints, clues and little bits and pieces at us that may or may not tell us the whole story, or may just lead us down a path towards more darkness and confusion than ever before. Then again, there’s some fun to be had in that, especially when Lynch himself seems to know of the maze he’s taking us on, rather making stuff as he goes along, as he can often sometimes seem to do.
And in Lost Highway, there’s some fun to be had, but also some annoyance, too. In a way, it’s hard to really pin-point what it is about this movie works and what doesn’t, as much as it’s easy to say what’s hitting its mark the way it’s intended to, and what isn’t. For Lynch here, it seems like he’s got the mood down perfectly; there’s a creepy air of neo-noir mystery, coldness, and darkness that actually makes it more interesting to watch, despite the slow pace and sometimes meandering story. But Lynch clearly put a lot of effort into the way the movie look, felt and sounded, with all aspects being top-notch and creating a very paranoid, sometimes eerie aura of danger lurking somewhere underneath, and it pays off.
Then, you get to the story and well, there’s a lot to be desired.
It’s not that Lynch made a mistake in telling these two different stories and demanding that we make the connection in our times, by ourselves, it’s just that they aren’t all that interesting to watch. Bill Pullman’s story has some interest-factor because of it seeming like an attack on the male-psyche, whereas Balthazar Getty’s seems to sort of go nowhere. It’s as if Lynch was so enchanted with Arquette in the first place, that he didn’t really care how much mileage he could get out of her – so long as she was willing to act in two, somewhat different roles, then so be it.
And well, there’s not a problem with that, either, because Arquette is quite good in both roles, playing up her beauty and sweetness, as well as her possible viciousness and danger, too. Arquette’s dual roles, while showing her off as being both sleek and sexy, also give her a chance to fool around with the audience, not allowing us to know whether or not she’s a good person, a bad one, or even a person at all. After all, she could just be a figment of these two guys’ imaginations, as well as our owns. The movie doesn’t always make that clear and while it’s a solid job on Lynch’s part for keeping that guess up and about, it’s also a solid job on Arquette’s too for never losing our attention.
But it does deserve to be noted that Lost Highway, by a certain point, at least, does seem to have painted itself into a corner that it can’t get out of and when it’s all done, there’s a big question-mark left. While you can say that about practically every other Lynch flick, it feels more frustrating here, where it’s as if Lynch himself didn’t have the answers or conclusions, but instead, just wanted to take his good old time, going wherever he oh so pleased. Sure, that’s fine, mostly because it’s an entertaining and compelling watch, but sometimes, a little help here and there could definitely help.
Actually, I know they do. But hey, that’s why I am me and David Lynch is, thank heavens, David Lynch.
Consensus: Odd, creepy and downright freaky, Lost Highway highlights Lynch at his most subversive, but also shows that his knack for storytelling doesn’t always pan-out as well as he may intend.
7 / 10
Photos Courtesy of: Jay’s Analysis