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The groundbreaking Eraserhead clings to a little beast’s death throes to maintain the possibility of delight. The story of his art’s maturation consists of a lavish outlay for the sake of freeing that most elusive of overtures. During the 1980s, such tenacious infection dragging down “wildness” came in for close-up investigation by Lynch, and here we should look at two closely related instances.ĭavid Lynch’s films exude a strange traction by way of a number of means, visual and aural, as heightened by mastery in compositional and narrative judgment. Sailor, too, had noticed the smell of “puke,” and doing something about it had never crossed his mind. Though you might at first imagine she’s referring to corruption not having claimed her, she occupies a room in the Iguana Motel of Big Tuna, Texas, whose floor is compromised by a mesa of her vomit which for twenty-four hours she has somehow neglected to clean up. In fact, its extended form, with the bit about “weird,” constitutes the heart of Lynch’s presentation of both of the films in view here. While her lover, “Sailor,” is absent, headed into an ill-fated robbery/assassination, “Lula” trembles and cries out, “This whole world is wild at heart and weird on top,” the phrase resulting in the film’s name. Dennis Hopper and Isabella Rossellini in 'Blue Velvet'