June 11, 2024 • 52 mins
In this episode we watch David Lynch's "Blue Velvet" (1986), our second Lynch film and our most divisive discussion yet.
A film considered one of the greatest of all time and which also laid the groundwork for Lynch's masterpieces that were to come later.
Listen as we discuss our opinions on this highly controversial film.
Contact:
Email: fourguysonefilm@gmail.com
Letterboxd & TikTok: fourguysonefilm
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Alright! You're listening to Four Guys, One Film. What are you laughing at?
(00:07):
Jorge's bitch-ass.
Alright guys, wow.
This part is going to have a lot of hate.
It's going to be a lot of hate, a lot of loudness, a lot of lynch.
A lot of opinions, okay?
This is going to be the first movie in a long time where we just haven't been able to watch it and review it on the same day.
Yeah, we're here a week later after watching David Lynch's Blue Velvet.
(00:31):
I'm upset.
What are you upset about? I mean this is a beautiful Americana film right here, okay?
It's fucking eerie and creepy as shit bro, to be honest. It's creepy.
Well you know what, I'm kind of glad that you guys have these opinions.
But it's not like a creepy in a good way, like oh shit I'm going to get scared.
No, this is creepy. I'm like this guy's one's a fucking pedophile.
Wait, who's the pedophile?
(00:52):
The fucking main mommy.
Mommy, I want to fuck. Baby, I want to fuck.
And he's abusing, like physically and psychologically his poor woman.
And she kidnaps her child.
The crazy part is that none of that was in the script. He just said that he was into that.
(01:12):
He's like, wait, wait, wait.
Dennis Hopper is a fucking freak.
Don't cut, don't cut.
Well, I mean.
He's like, let me just spitball here.
To anybody that's listening and they've never heard of Blue Velvet and they've never heard of David Lynch.
Good, keep it that way. Never watched that shit. That shit was weird.
If you don't like the weird stuff, don't look into this.
If you love the weird stuff, you better go balls deep.
This is a discretionary, like, tail ring.
(01:35):
Before you, like if you're going to watch David Lynch movies, it's going to be fucking weird.
Because David Lynch is known for his very surreal, dreamlike films that make almost no sense to the average viewer.
I mean, I like Lost Highway. That was surreal and weird.
Well, we'll get into that.
But it wasn't like anywhere like this.
Well, you know, it's funny because on the surface, Blue Velvet is pretty, pretty straightforward because this is just about a regular guy, regular kid who finds a severed ear and looks like yesterday.
(02:01):
Yeah, exactly.
It's just a casual occurrence.
And he just decides to kind of go into this is like, where does this ear come from?
And through this journey, he kind of sees that there's this weird underbelly, like just some weird shit going on in this, like, you know, quote unquote, perfect little town.
You know, and he meets some crazy characters like Frank.
No minorities. It's fucking crazy.
(02:23):
Zero actually.
Was it 1960?
No, no, that's not true.
Where's the diversity hire? Jesus Christ.
The kid, the main kid.
He was like, there was one Italian.
Was it was named Jeffrey?
Yeah.
Jeffrey Beaumont, right? He was working with that blind guy.
That's not a bad idea.
I mean, that's a different kind of.
You're talking about the hardware store. Yeah.
(02:44):
Yeah, the hardware store.
They were like, what can minorities amount to at this day and age?
They can be clerks at a hardware store.
And like the 1980s, 1980s.
But yeah, I make manager one day.
I mean, yes, guys, it is a weird movie because you see a lot of violence against a woman.
You see some very perverted characters.
You see some crazy people.
(03:08):
I'm OK with that.
You mean a woman.
It isn't my problem.
I get it. Like that's what I enjoyed about it.
Now let's talk about what I dislike.
She got away.
No, because you can use all those elements to tell a fucking movie.
You get to tell a story, right? Right.
But I feel like there was like.
It just he just did it just to be fucking weird.
OK, it wasn't even like, oh, I'm telling a story through this.
(03:30):
It was just like all this weird shit's happening.
Let me hyper illustrate all this shit.
No, I totally disagree. I don't think it was like just fucking.
I think it's very purposeful.
Straight debauchery for no reason.
I think it did have an overall meaning that like is just the good,
the evil and how there's a slippery slope in between.
But I didn't like how it was depicted, to be honest with you.
(03:52):
I do see that the message is there.
Personally, I was not a fan.
I did not enjoy it.
And that's I think that's OK, because obviously you're uncomfortable with with what you saw.
Yeah. Like this is not a normal, a normal story or normal, normal film to you.
I just don't see how these pieces fit together.
I just didn't like the execution.
(04:13):
Like I can see how all these pieces would fit if the movie was better written.
Actors were OK.
And I think just we first of all, we got we got Dennis Hopper in here.
He was we got Kyle McLaughlin.
We got Laura Dern. Laura Dern's crying ass.
And we got Isabella Rosalina, who's a who's a who's legendary actress.
Also crying was ass.
(04:35):
I thought she was incredible in this.
Weren't they all kind of in the beginning of their stages, though?
Half of them were like three quarters of the way into their stages.
Really? Yeah.
Dennis Hopper was already holding. Yeah.
Yeah. Dennis Hopper, he already did Easy Rider, obviously, like maybe like 10 years before this.
Kyle McLaughlin, definitely Rising Star, Laura Dern, same thing.
And Isabella Rosalina, she's an Apple baby, her parents.
(04:56):
Yeah. So it's just like some of them are pretty sad.
There was a good mix up of like who, who could have.
Yeah, I see what you did there.
So I think was OK. It was just I feel like the execution wasn't there.
I just the way it was written wasn't there.
I feel like it was like, OK, it's it's it's doing too much in the subtle nuances factor.
Like, OK, like you really got to think through this fucking movie, which is fine.
(05:19):
If the movie had actually played into the topics it was trying to illustrate better.
This movie just wasn't fucking pretty.
It wasn't. I hate to say that. It was too raw for me.
I love it raw. No, no, no. The thing is, like, there's a way.
There's there's a way to depict this type of like violence and debauchery and like.
(05:40):
And then this was just like two in your face.
Like you can just fucking insinuate to it rather than know, because it's like I've seen so many other better ways where it's like they don't have to depict the actual violence on screen.
But I think the shock factor that he was going for just like really try to catch.
I think he was just like, I'm going to try to like like separate myself from other people and I'm going to be really like captivating, very like like in your fucking face.
(06:06):
Again, it could be great. And we do what they said, but like subjects, it has to be done well.
You know, I kind of feel that that direction is a bit refreshing because he's not afraid to show you what's what.
Because like this is reality. Like, it's not I'm not saying that these situations are like, oh, this is this happens like right now.
But similar things happen. You know, women are abused.
(06:28):
There are crazy psychopaths out there and there is weird stuff going on.
I want to say, you know, this movie was crazy to think about, like how it portrayed like PTSD and trauma in general, too.
Like the woman, you know, she she changed to the point where she now was craving the abuse.
Like she was like, hit me. And you could see every time she got hit, she would smile and like it felt good to her.
(06:50):
It's like when I hit George. Yeah, it's like Stockholm syndrome. You know, you just got to honestly abuse her.
Yeah, exactly. He came a little bit right.
He loved it. Not yet. Not yet. Imagine. But who's next?
But the idea that like it shows that, you know, sometimes like these movies only show like the little bits of trauma and shit and like and then they move on.
(07:11):
Like they don't show like how trauma can impact over extended period of times and like shape your psyche.
Yeah, I think I think that's the thing here. Yeah, it lingers on the on the trauma.
Like when you see Frank beat up what's her name, Dorothy, right?
Like you see Jeffrey still like staring at her through the closet.
And, you know, I think maybe in a typical movie, you know, you'd move away from that because it's too uncomfortable, right?
(07:34):
But we still keep watching. But in a way, I think David Lynch is kind of like a genius because because Jeffrey Jeffrey represents us in a way,
because he's he's just a regular guy who's falling into this thing and, you know, all of a sudden we're seeing the world through his eyes.
And, you know, we're looking through the closet just like him. And so we are just like him.
He's just your run of the mill pedophile. Yeah.
(07:56):
What makes him a pedophile? I'm sorry. He was like 27. Dating a fucking 16, 17 year old.
And then he just was 18. And then he just fucking peeping Tom over there sliding in a woman's closet for evidence.
He was just like us. He's 25 dating a 17 year old girl and the girl explicitly said, I have a fucking boyfriend creep.
(08:19):
And he's like, you know, now it's cool. It's not like that. It's not like that.
Fuck is that she like they start kissing and making out. And then he's like and she's like, I love you.
Yeah. Yeah, whatever. He said it back. No, he said it back. He said I love you, too. And then he fucked the other girl.
Right. That same day. He's just like us.
But I think maybe George, I don't know. I think it's a mistake.
(08:40):
Alex is the one making the comparison. It's a mistake to to watch David Lynch film and look at it objectively because his films are not on the surface at all.
Like, yeah, like obviously he's dating somebody who's like slightly younger than him. He's like two time her this and that.
But he's like 10 years apart, buddy. I don't think it's 10 years. He said he was 25. She was 17. They said that. Yeah, that's disgusting.
(09:02):
But look, like it's not about what it actually is on the surface. It's about like the mood, the feeling, what it's trying to portray.
I get that. But there's so many other ways of portraying it. This leaves nothing to the imagination.
But why would you like the graph? The scenes of graphic violence are like they linger.
And I'm like, this did not need to be a fucking five minute scene. Jesus Christ.
And you know what's crazy? This is super tame compared to some other stuff. It's very tame.
(09:26):
And like it took 20 minutes, like in the first 20 minutes, just where the guy picks up the ear. Right. That that was like a big waste of time.
I'm like, OK, like I was going to I was going to mention this. That's where I don't agree. This movie is extremely unreliable.
That's what bugs me. It's like he spent 10 minutes picking up a fucking ear. OK, Van Gogh.
God damn it. Let me say that. Isaac, you know, he walks by a fucking park, you know, he's strolling around looking at 17 year old girls.
(09:53):
You're in your mid 20s. And he finds an ear.
You know what Isaac, the big ass brown fucking person doesn't do is pick up an ear and go to the cops.
Because the first thing that they're going to do is say he didn't pick it up with his hands.
Where did you get this? He picked it up with his hands. Yeah. Who did you get this from?
He still picked it up with his hands, asshole. What do you mean he didn't pick it up?
(10:14):
But only one hand because his right hand was occupied. Right. Yeah.
But anyway, like I said, people of color, they don't apply to this. It's like horror movies. They're like I they're screaming that way.
Got it. Turn around and go the other way. What does that do with anything?
What I'm saying is like this movie isn't relatable in the sense of like he consistently Jeffrey was just like, I got to solve this mystery.
I got to solve this murder. And it's just like, yeah, we see crime. We're like, no, no, I'm good. I'm going to get blamed.
(10:39):
I need to get away. I see what you guys are saying.
But you're approaching at it or approaching it like totally wrong because it's not the fact.
What is the what is the relatability factor?
I like movies and he did not put them in the front.
So I'll say David Lynch, you rolls and then Nick is unhinged at the moment.
(11:00):
No, I think he's very hinge Alexis. Where is the relatability?
Tell us. Tell us. Because I don't see a fucking spec.
The film is doing in here. How is this relatable to the norms?
What was your question? I want to ask the guy that he went to school.
Like, how is this relatable to the normal people?
Because Alexis claiming that it's like it's relatable to all of us.
(11:24):
The guy is his whole fucking. I don't think I'm saying I'm not saying it's relatable to us.
Like we can live. I'm saying that he no, no, no, I'm saying that he's a guy like us.
I'm saying he's he's like us. Yeah.
He's just a regular dude until he starts going into this weird journey
and he starts seeing this weird shit and doing weird shit.
I think because he isn't he doesn't start off as this weird guy.
(11:46):
He's changed by the things that he sees. He was a pretty weird dude from the beginning.
No, but that's that's also the other thing is it's already in you.
Like like I'll be honest, man. I think I think we're all perverts, aren't we?
We're we're a little weird. We're lucky.
I mean, I don't know about pervert, but weird.
Yeah, you're going to miss me with that.
But those are the Japanese. You guys watch the same videos I do.
(12:10):
Oh, my God. Hey, bro.
He's like, wait, you guys remember you're on a public train, you know, you don't do the you don't do the.
Remember, remember when they had to put the clicking sound on the cameras nationwide
just because of, you know, what you guys got going on over there.
He's like, come on. So then maybe we're not perverts, but we're at we're at least
at least the worst choice of words you could have used.
(12:32):
At least we can say that we're curious people.
I would say maybe maybe what you're saying is we have primal instincts.
Like as humans, we're all primal, right?
There it's encoded in our DNA. There are certain urges that people have just as humans.
Right. OK, because that is completely different.
Let me let me bring something up. All right.
We're watching the movie. Jeffrey is in Dorothy's house in her apartment.
(12:55):
He's in the closet watching her get naked. This and that.
You guys are watching. You guys are watching the movie.
You made me. No, no, no, no.
But I'm saying you guys had you had a choice to close your fucking eyes or leave the room.
So did you and you. But you didn't do that. You kept watching the movie.
But look, this is different. Just for science.
We we didn't know what was going to happen next. Right.
(13:17):
So we don't know if she was going to get naked.
For all we know, she could just take it off. I'm like, you said it says the one that's like, oh, where's the titty?
Says the one that was like, I don't see no titty. I'm watching.
He's all aggressive now.
He's like, no, I mean, I get your point.
And like, they're like, I'll say we're all weird.
And obviously, like, yeah, I think maybe Purvace is too strong.
(13:39):
And Primal was good, too. It's like, which one of us is not like a sexual scene where he's kissing Jeffrey with lipstick ten times.
Did we go to one of Diddy's parties? Maybe. Maybe.
I won't confirm until it's confirmed. But like that's what I'm saying.
No more parties in L.A., dude. That's why.
It's like Jeffrey is in there doing something wrong, but he can't look away.
(14:02):
And he's staying even though it gets weirder and weirder and weirder.
See, a normal person would have had at one point or another is like, when is enough?
Like, as a normal person, we have, OK, do is this like we have, I guess, certain things ingrained into ourselves.
That's what separates us from being weird, from being pervert.
Yeah, because you could also make the argument like he's in a closet and he's so close to getting caught.
(14:26):
So he's keeping like vigilant. He's also kind of like, fuck, like, I don't want her to see me.
So he has to stay.
And clearly he's a weirdo because he went to her apartment like.
Yeah, that's also fucking. Yeah, he has some sort of like thing about him that he feels like he has.
Yes. And even in that time, right, he found the fucking ear in the forest.
Right. He was walking around in a fucking empty forest and you find an ear.
(14:48):
I'm not going to fucking pick that shit up, even if it was the 1960s.
He's got a jizz on it. Also, that's that's where you're really fucking this guy.
They say we're not fucking perverts. This guy over here.
Jesus Christ. But also, for most fucking teenagers, apparently this guy was a fucking teenager.
That's where it ends. Yeah, that was college grown husband.
(15:11):
Whatever. That's where it ends. You pick up the ear and you're like, this is it.
That's all it came up to. And you're totally right.
But then this thing escalates because this guy can't let go of that morbid curiosity of where is going to lead me next.
He feels like he has to be the one person wouldn't go to those extremes.
It would be like, OK, I found an ear. I'm not going to touch it.
(15:32):
I'm going to remember where the fuck it's at. Call the police. Come back.
That's even if it doesn't matter what age you're. Yeah, that's the rational fucking.
Well, that's fine. But I think we're kind of losing track because it's not about whether a normal person would do this or not.
It's about this kid's journey. Well, I think Alexis has a valid point.
Lynch does take you through a journey through this normal kid that eventually goes down a wrong path.
(15:55):
And then it just as easily could be him becoming what's the fuck? Frank.
Generate Frank. He could become because Frank literally same thing.
He just went down the wrong path all of a sudden.
Now he's like into some weird shit. He's also hanging with the wrong people.
He's fucking off the rails on cocaine. But Frank, it could have just as easily been.
Frank had something you can with Frank.
(16:19):
You can tell he's had some abuse as a kid. Not like. No, but that's exactly he got that kid got abused by that lady because it's a cycle.
And then it just as easily he could have liked it and then became the abuser or a victim down the road.
The difference between Frank and what was the main character's name? Jeffrey.
Jeffrey is that Frank, you could tell, has some like trauma as a kid and fucking Jeffrey just look like he knew the fucking very normal, boring fucking life in the Midwest.
(16:46):
And he's like, you know what? I'm going to venture out. And he went way too fucking deep, way too fucking fast.
Exactly. No, that's the whole thing that Alexis is trying to say and that will Lynch was trying to depict.
And I can see that. But even then, I'm kind of like, I don't know. It's not that simple. You're not just having yet two or three fucking interactions like that.
And then now you're a fucking drug addict.
(17:07):
Clearly, Jeffrey wants something like this. But I think he thinks that he's going to be safe the further he goes.
But obviously he isn't safe because he reaches a breaking point when he meets Frank and they take him out and he thinks he's going to die at some point.
You know, and he just sees this like weird sick world. And then there's that scene where he's back home, you know, in his room and he's breaking down and crying.
(17:28):
Like that's that's a normal reaction, I think, to all that's happened.
And also there's a there's a parallel between the high school girl and then this older.
Yeah, because he's like he just as easily could fall for her because she's like she's bring something new and erotic and different.
And then you have the girl that's like goody two shoes like she's still there.
(17:51):
There's a lot of there's a lot of this or that. Like you said, the innocent girl, the not so innocent girl, the normal life, the Frank life.
It's interesting to see, too. Like, I hate to say it, but like the idea of like how like naive she is being so young in the sense of she's like, I forgive you.
I love you, you know, no matter what.
Who cares? She did. Has left her boyfriend. Yeah, she left her boyfriend.
And she's and she's like I feel like women in particular go through like that thing where when they're so young, they end up with assholes who will just walk all over them and like treat them like shit.
(18:21):
And then it unfortunately like just I mean, you have you have no choice but to grow some sort of thick skin or shell and just be like, I'll never let another person talk to me that way.
George did in his 20s. Exactly. And then he is in his 20s. And you end up with doing it.
Allegedly, allegedly. And then you keep going and you end up with someone like what was her name again?
Dorothy. We should have brushed it off. It was it's been a week viewers.
(18:46):
Sorry, Frank is a bad guy. Jeffrey's the main kid. Dorothy is the blue velvet.
And then I forgot Lord. The important thing is that we know what the fuck happened. Yeah, that's the important thing.
OK, I mean, at least it's not like Lost Highway where we had to fucking read some spark notes and dive deep into what you say.
(19:08):
And we're normal to guys. We don't understand everything.
One go. Yeah. So so, you know, this is this is a come out of a sophisticated.
We're very sophisticated. We're not movies. Not as guys. We're just curious.
Yeah. Thank you. Like we were directors had to the car. Right.
No underwear. No underwear. I kind of want to ask what is the most uncomfortable scene in the movie for you guys?
(19:32):
I don't think it was uncomfortable. Just bad. Like it was just the execution.
And you know, like I think I mean, yeah, like this weird scenes like where he Frank puts on makeup and like lipstick and just tries to forcefully.
I was just like, what the fuck does that even is that a power play?
I remember having to rewatch that scene multiple times because I can never finish the movie after watching.
He couldn't finish. He just couldn't finish. I kept watching it.
(19:56):
The scene was too short. And it's like I didn't have to rewind it 10 times.
Not next proudest fat. But he got the job done.
Shit. A win is a win. But yeah, again, a lot of it has to do with a lot of it has to do with execution of what how he he did stuff again.
The topics I don't think were too crazy, even for the 80s when he did this movie.
(20:18):
Like you could touch on all that stuff. I think it just wasn't there was like zero class zero like fucking.
What do you mean class? Yeah, I think I mean, what do you mean by class with this?
Like he like as a filmmaker at that point, he still didn't have like sophistication to like the reasoning.
Like like there wasn't like any like like you just feel like it was just inserted to just insert it.
(20:41):
It's like, yeah, what point did he did again like the lipstick? Like what point did that fucking play to the overall like scheme of the movie?
Just showed that it just it just illustrated more the fact that the guy was a little deranged and yet obviously had some fucking issue.
But that was already preset from the way that he treated his girlfriend because he had kids like that was all like all that stuff was already in there.
Weird. He just I think there's you're sorry. I was going to say I think there's extreme examples where this works well.
(21:06):
Like I mean, I'm trying to think off the top of my head. It turned to Tarantino movies.
There's extreme gore and violence. And a lot of times it serves a purpose and it's done well.
Another example, Oldboy, we recently watched that the scene where he's cutting off his own tongue and it's graphic, it's gritty and it's like violent.
But it serves a purpose. He's in agony. He's in such disgust. There's a lead up done. Yeah.
(21:30):
It serves a purpose. This is just blatant like thrown out there and not it doesn't it's too in your face and it doesn't serve a friend's character just felt like he just it just kept like all the characters felt like they were one up in each other from from whatever was happening until the point where either they died or they knew that they no longer want to do it.
And they wanted to not do it like probably midway from them when I think themselves.
(21:52):
It just felt it felt very tasteless. A lot of time it felt like, OK, I get it. What is it? What are you trying to illustrate? There's nothing else besides it made it instead of being a movie that had a lot of thought, a lot of a lot of depth into it.
It made it seem very above the surface. It made it like like unless you're really into this genre, which you know, clearly Lexis is just like pervert.
(22:18):
We all are, you know, like whatever. Right. But like it just like the necessity for it wasn't called for.
I feel like the movie's tone wasn't. Yeah. You know, it's interesting because when the movie came out, it's very controversial, obviously because of those scenes with with Dorothy Men Kissing.
And I think that was the only issue. Probably there was homosexuality. I don't like that showing what I do with my wife at home. But also, I think the scenes with Dennis Hopper where he is, it's a very weird character that I don't think I've seen in another movie where he's just very like balls to the wall.
(22:56):
I don't know what he's doing, why he's doing it, but he's just this like living embodiment of fucking rage and randomness and anarchy. You know? And so I think I think these characters aren't supposed to be like in a regular film, like in a regular narrative story.
(23:17):
You know, I think they function in a very different way where I don't know, I guess I could compare to like, you know, when you see a painting, right? Like there is no story being told, but you get reactions by seeing certain colors or in landscape.
Like, I don't think he's creating a regular movie here. I think it's like just a weird movie. It's all very deliberate and intentional. I think it's a mood that he's trying to or an atmosphere that he's trying to create.
(23:41):
Like let the audience fill in the right things. I think it's a very like, again, it's a very classless way of trying to create atmosphere, especially like, again, it just, even if you're a fucking psychopath or a crazy person, there's still some type of fucking reasoning for what you're doing.
That's not true.
(24:02):
I mean, kind of by definition, there really is. Not by definition, but like there's certain like, okay, like if I know this character is going to do this because this ticked them off. There's like, there's some type of reasoning for the reason why they did that.
I'm not saying their reasons for doing it are logical. Right. I think that's two different things. In this case, it just seemed like it was illogical and no reasoning behind the actions of Frank as a whole.
(24:25):
I think, well, Frank was the only illogical character in the film, wasn't he? Like did you feel like you understood where everyone else is coming from?
Yeah, no, no, the girl, the teen, she didn't act like.
No, I think she acted like a teen girl, in my opinion. But what I was going to say was actually, it's like there's a whole lot of like, you know, I was trying to think about like other movies for a second because my point that I was going to make was the idea of like shit not making sense.
(24:50):
But you look at Lost Highway and some of his other films, it's like some things are just like, you're not supposed to know what the reasoning for it is.
But I feel like it ties in a little bit better. Like even the scene I was telling you was like the scene with Ben where Ben is like singing along to a song and they're finding out like, oh, go let her see her kid, go let Dorothy see her kid.
And like, he's just like, I love Ben. This fucking guy is great and all this other stuff. Right.
(25:15):
Like, it was again, kind of like Isaac was saying, shock factor, just watching him like in another derailed state with other derailed people.
Like it didn't really, in my opinion, help. Like it was cool and it was fun and it was like interesting.
But like, when I think of like Lost Highway, all of the crazier scenes, I feel like really did impact the story.
(25:38):
Like if you would have removed a lot of that and just shown him like angry saying, hey Ben, and then be like, go let Dorothy see her kid.
And then like then mess with Jeffrey a little bit and then they leave right away and none of the singing and the other stuff wouldn't have changed the film at all for me.
It wouldn't have done any different. Ben's introduction as a weird character who did his own things was just like, I want to say useless in a mean way, but like useless in like it didn't really add to Frank's story, in my opinion.
(26:06):
I think I feel like it did add to Frank. I think you see a strange side of him where he's being soothed by Ben as he's singing.
And the way the way, you know, the scene with Ben is framed, it's kind of like it's odd, but sort of angelic with the lights.
And, you know, he's very like, like he's not actually singing, but he's lip singing.
And it's there's something nice about it to me.
(26:28):
And then as you see Frank kind of like, wow, like just like being stuck in like, like you see a different angle of Frank where he's not this crazy, you know, psycho.
But I felt like I disagree. I think he was still crazy. I think what it's kind of like when you like they have those fucking ADHD jokes where they're just like, oh back rooms, back rooms and like jingling keys to try to get someone's attention when they have ADHD.
(26:50):
It's like similar to that. It's like I got to do something a little crazy to like get you down to earth and like back to regular. And I felt like they already showed so much of his crazy side.
So for me, I think maybe it was just a little maybe I will.
I would I connected that scene to is that the chick was a singer too.
And then also he has obviously like attachment issues with like his mother potentially.
(27:15):
So he has mommy issues where he likes talking to her like he's a baby, all that.
And then the motherly, you know, person that sings, that's also an attribute that he would potentially like calm him down and make him feel good.
So she's an actor. I mean, she's a singer. She does that. So him doing that, it's a clear depiction like, oh, yeah, there's that connection.
Maybe maybe that's like a father type figure to him. I mean, obviously, it's not.
(27:40):
I don't know. It's just yeah. Mommy issues could be parental. You can interpret it many different ways.
Yeah. But that's the only connection I saw. But yeah, I mean, those those scenes with all those other demented people, those are very realistic of what most junkies and degenerates are like.
Like literally, it's spot on. That's how crazy people are like. They're not all like like some of them are they're all old, which is was interesting.
(28:05):
You're talking about that. But they look normal. Like I feel like nowadays movies sometimes try to fucking like say like everyone's got to look like, you know, a crack addict who's been at it for 20 years.
No, it's crazy. This is bro. I know like people and like people personally like not not like I know them, but they have been affected by like family members, stuff that are like that.
And they're really completely normal people for the most part because they're highly functioning addicts.
(28:31):
But it doesn't take away from the fact that they're addicts and that they do crazy unhinged shit typically when they're high.
But most of the time, they're normal people, which is fucking crazy to think about unless you know addicts that are struggling through that.
They're literally it's crazy. Sometimes you won't even know people are high like or they're they're at that stage, which is insane.
(28:52):
It's like there's highly functioning people that are like that. So it is very realistic.
I think it's high. Yeah, I'm partners. On partners.
No, yeah. Yeah, I mean, well, I kind of want to bring up this idea, too, because we've seen Lost Highway and Lost Highway was was very dreamlike, very strange.
(29:14):
And I think that's a more like established or defined vision that David Lynch did.
You know, and I think Blue Velvet is a bit messier. But in some ways, this feels like a nightmare, too.
You know, this is these are weird things happening that don't make any sense.
Things strange things happening in the background. And Jeffrey is just kind of like just there speechless.
(29:35):
He doesn't really do much or say much. He doesn't really do anything until later when he actually punches Frank.
And then I think that's where he does the lipstick thing. Right. After that.
Yeah, it was in the car where he punches Frank and then Frank takes him out and he's like, oh, you want me to he pulls out a switch.
And I say, I'm going to kill you. And then he starts making out with him. Yeah, weird.
But it's like a weird power thing. Now I'm proud of that. But now I might least. Yeah.
(30:01):
So I want to know who the least is. Yeah.
Now, I don't think I'm like able to convince you guys to enjoy the film anymore, you know.
But I think it's interesting compared comparing it to Lost Highway, though.
Now, since you appreciate since you appreciate the movie, what do you like?
What what brings you to this? Like what like what are some of the interesting?
(30:22):
What are the highlights? Because we again, for all we know, we're looking at it at a very above the surface like point of view.
What like? Well, like what changes this movie to?
I think I think you guys are just looking at the movie as best as you guys can probably relate to, you know, like maybe I.
You dumb fucks aren't smart enough to understand.
(30:45):
He's like, look, I mean, with your level of IQ, I think that the problem isn't the movie.
I think it's just your understanding. No, no, like I actually got I had a feeling that you guys were going to not like this movie, you know, because I do think it's messy.
I do think it shows things a little too visually. Like it's it's it's too in your face.
But you know, I like messy. Like I fuck with Lost. I fucked with, you know, lost like lost.
(31:10):
I fucked with Lost Highway. I like the I like you know what it is.
Just all the lost stuff.
Well, no, no, no. Anything lost, you know, lost in translation, lost in space.
Lost type of bussy.
Yeah, but no, like I think for me is just like when you think about like something like lost where it's like, oh, we're going to not give you a lot and then wrap up towards the end of the series.
(31:34):
I started I started saying we're not going to give you a lot towards the end of a season of series.
We're going to wrap up stuff. Right.
Or you think about Lost Highway where it's like everything is really weird and I'm going to make you interpret however you do.
But it's so like I felt like there was a flow like it starts off normal movie gets a little weirder, gets a little weirder.
And then it just like goes balls off the off the wall versus this one was like normal, weird, normal, weird, normal.
(31:59):
Like it kept coming back, which I get that whole purpose of like I'm going to show you that this isn't just like a weird supernatural thing.
It's like what's happening to a real kid or real person in like and could happen to any one of us with a psychopath in our lives.
I get it. But I just don't feel like it's the best example of like a psychopath.
I feel like this is like Joker would have been a better version of that, you know, like a psychopath in real life, you know, and with amongst everything versus like you have other movies like Lost Highway,
(32:28):
which would be like Joker in a universe like with other superheroes and villains, right?
Where it's like it's just weird and wacky and everything like no rules apply.
This is like trying to be a mix of both. And it was I just didn't it wasn't bad.
I enjoyed this film, but it just I didn't execute as best as it could, which to be fair, it's still early David Lynch.
So he tried his best. I can't knock him for trying.
(32:51):
And actually, you know, nowadays people people actually look back to this film.
They really appreciate what he was trying to do because there are a lot of seeds of what he would do later in his career.
Female abuse. Right. Right.
Lots of that. Lots of that. But I kind of gravitate towards it because I like I like a lot of like the visuals, the imagery that like I don't I don't see things like this and other movies.
And not that I want to see, but it's just like I have that kind of curiosity where, you know, I know I know this is kind of weird, but I want to keep watching.
(33:20):
And and ultimately it's you know, Frank is like such a weird character. And actually, I think his death scene was pretty intense, like the way his he got that bullet through the head.
That was a crazy. Yeah. And even just watching the other cop like staying standing while being kind of pseudo dead.
Yeah. Like with his brain coming out. Yeah. But I don't again, those parts are fine.
(33:41):
Yeah. Again, it comes back to just a storytelling perspective. Right.
And what he could have done better. Yeah. And again, he's like one of his first movies. And I don't disagree with you.
You know, I do think it's and it's not what it is. It's just like, you know, like again, this movie is an interesting watch.
It's not complete. It's not a complete waste of time, but it does. It does have its flaws.
(34:03):
And if we're not like going to talk about its flaws, right, then what are we are we just going to be like, I have to go like you say every movie is good.
No, no, no, no, absolutely. You know, and we know we try to give our viewers a kind of an insight the way we see movies and like, you know,
and we try to make sure that it's a little bit relatable to them.
Like if we don't know who the fuck's listening out there right now and we don't know.
(34:24):
So we got to tell you, OK, this is if you're a normal person, you're not going to like this fucking movie.
But if you're a little bit on the wackier side, like you don't want to see something that's not off the beaten off road and it does have its flaws.
But you still might enjoy it. Watch the movie. You know, like. Yeah.
And like I was saying earlier, I think a lot of people can either connect or not connect with it.
And I'm kind of thinking now, like, I think I feel like I've seen some things when I was younger that kind of relate to some of the things that we've seen in this movie.
(34:52):
Obviously not as graphic or as like crazy, but there are things that I saw when I was too young that like it's like, oh, OK, this is kind of like similar to that.
And not closets that you sit in too many every time.
Every time he came over for a sleepover, he just kept saying he's like, I'm going to go to the restroom and he'd walk in the closet and close it.
(35:13):
And I was just like, yeah.
But there's this interesting thing where I guess the scene in the end where, you know, Dorothy comes out like nude, like beaten up and all that.
I was made with the movie. No, those towards the end.
Those towards the end is when memory like when the guys want to want to beat up Jeffrey, it was at her.
It was at Jeffrey's house. I still felt like that was kind of like more towards the middle.
(35:36):
It was like it was at the climax of the movie.
So like we saw like another 10, 15 minutes left. Yeah. Yeah.
But that is something that happened to David Lynch when he was younger.
Him and his brother went out and they saw this naked, like random naked woman like like like come out from from their neighborhood.
And I guess that image kind of stayed in his mind.
And so I don't know if that helped him create this story leading up to that in this film.
(36:00):
But like there's a connection there, you know, like there is. See, but again, that part isn't bad.
It's like he doesn't have bad like bad. I'm not saying that to convince you that it's good.
I'm just saying that there are there are things that you don't know. I led up to this.
And I get that. I'm just saying like just like it was some of the stuff that, you know, and I get it.
He's maybe I'm just beating a dead horse right now.
(36:22):
But it just execution like I don't think necessarily what he was trying to show was bad.
I don't think the topics were were even too outlandish.
And obviously in today when it came out, I think the themes were good.
Yeah, you know, the good in between.
I'll say this is like a house that has really good bones.
Like if you were to remake this movie with like I think he with like a good budget. Right.
(36:46):
And, you know, let's say a hundred million dollar budget, you know, make it a summer release directed by, I don't know, Michael Bay.
Maybe, you know, I think 50 million dollars. Right. Explosions. Explosion.
Cock. Cock. One explosion. One explosion. No, but it's in his pants.
But I think if this movie is like, hey, if you get like the same theme, you remake it and you really put some forethought into the characters.
(37:10):
Forskin. Forskin. You know, I think you have like a good you have a good a good movie here.
You know, I think it's just one of those things with very difficult to execute correctly because the themes
and like topics are so heavy that sometimes you miss the mark.
Like, I'll give you a perfect example of what I thought was a really good way of do it.
No, no, it was Jojo Rabbit. I was going to say Encina, man.
(37:33):
It's literally, you know, Jojo Rabbit is talking about themes of how there's kids that don't distinguish the difference between good and evil.
And despite that, they're raised into like a certain society and they literally can become little Nazis because they don't know any better.
And then that film kind of depicts it in a way where it's like artistically done and it portrays the image really well.
(37:56):
And it kind of gives you, you know, a very good vantage point on the situation. I like Jojo Rabbit.
Yeah, it was great. I loved it. I thought it was masterfully done.
It was also kind of a comedy and a satire, which is like people didn't like it because it showed Hitler as like this funny, you know, weird guy.
Oh, the Germans didn't like it? All the neo-Nazis were like, yes, they get it.
(38:20):
No, but see that that could have just easily has been like a horrible movie, like where it's just like, yo, this is too off the rails and fucking like comedic.
And it's like not like serious at all.
Another great example, too, is Jordan Peele's movies.
Like all of his has so much messages and like heavy tones and stuff like that about like what it is to be, you know, a person of color today, especially a black person today.
(38:43):
And it's like it doesn't ruin it by any means.
Like Get Out was phenomenal. Yeah. And like, yeah, it's extremely like underlaying with like racist.
Yeah, but you're you're on a fucking thin line, right?
Like you're walking razor thin lines and like some scenes that are like, oh, my gosh, like I didn't even think about it.
Or even like a fucking Tarantino and Polk Fischer when they get fucking the.
(39:07):
Yeah, that was fucking crazy.
It just it just we all love the game.
You love the game. We love the game.
Alexis was a fan of the ballgag.
Let's go back to our Pulp Fiction episode and we'll see.
We'll see.
No, yeah.
But I mean, all right.
And you want to talk about I'd say let's get onto the letterbox reviews.
(39:32):
All right. So I did take your recommendations.
It's not all just people that follow us.
You know, some random people here, too.
So all right.
You're going to you guys are going to like this review.
This is by Mia.
Two stars.
The aesthetic was nice and I like the colors, but something deterred me from fully engaging with this piece of cinema.
(39:53):
Found it boring and dull on the actual story side of things.
Really wish a rewatch can do this movie justice and I'll have to watch more Lynch to have a proper opinion on him.
Two stars.
I think I think they're kind of saying the same thing.
You're saying that's what's interesting is we're saying the opposite and like we've watched enough Lynch to know he's better than this.
And she's saying hopefully Lynch watching more Lynch will make me appreciate this more.
(40:16):
Right. I see this is like possible with probably you.
You feel like you appreciate it because you know what Lynch is capable of.
You know that like you're like, whoa, he did great for his film.
He's like this like I'm going to see his a film.
I see the fucking buildup like I see like what he came out to 20 years of.
He couldn't have done that without Blue Velvet.
But Blue Velvet laid the groundwork.
I really think it did.
(40:37):
It did. All right.
That was a good one Mia.
Nice. All right.
This one's by Mariana.
Four and a half stars.
Lynch's way of making movies isn't one of my favorites, but this one stood out.
The places in this movie felt nostalgic, adding to the overall visually striking ominous and dark atmosphere.
In fact, the visuals were my favorite thing being so aesthetically pleasing, a nice and compelling dramatic mystery with an enthralling soundtrack.
(41:02):
I remember the soundtrack that much.
I was going to say I don't agree with much of that.
Like I thought this movie was pretty ugly compared to Lost Highway.
Like overall, I mean like literally the buildings that stuck out to me was a brick building.
I know we kept saying like the stairs are pretty cool stairs.
I wanted to take pictures of that.
I shoot pictures off of that.
Like but yeah, like the apartment was like very old school and yeah, I don't.
(41:25):
The the the.
I didn't stood out even the apartment of like the Dorothy.
Dorothy was kind of shitty.
Yeah, yeah, I had like weird materials even for the 80s.
I think like weird colors and I mean obviously that was a choice.
It looked like he did it in this like in a theater.
Yeah, but it does give it a weird kind of look.
I feel like the only scenes that were it really kind of changed around was when he when Jeffrey was with Sandy.
(41:51):
Like those scenes were a little bit more like lively and a little bit better as far as like colors and happiness.
It kind of made sense.
How much does this movie cost to make?
Six dollars.
Back in 86.
That's kind of a lot of money back in 86.
So I mean what does that adjust it, you know, probably like 20, 25, 3.2 billion.
You said it is a billion.
(42:13):
This is fourth film.
Fourth film.
So he did he did Eraserhead, which took him like five years to make.
And he did Elephant Man.
And then he did Dune, which flopped, which is really bad.
Have you seen the graphics for this on our guide?
We were so the producer, he made a deal with said, all right, you can have final cut, but you can only have six million.
(42:39):
You know, the smallest budget film and that producers catalog.
So it seems like it did make some money, not a ton of money.
Obviously, I think I think I think even back then people weren't really like so.
Wait, this was the director's cut.
You're telling me this is what he wanted for all creative control for hours.
They had to trim down to two.
(43:01):
Oh, yeah.
Damn.
I'd love to see that's why this dude is randomly like, mommy.
Okay.
There's like no backstory.
I started blasting.
Maybe if it was a four hour film, maybe there's a reason why he said fuck Heidenken.
Yeah, maybe.
All right.
Next one.
This is by I don't even know how to say this one SM four are four four stars.
(43:25):
The Freudian meanings, the psychosexual and disturbing essence of this movie that captivates you.
The way David Lynch uses music, a unique masterpiece.
What the fuck did we not pay attention to this music?
Like, I know.
I mean, I like the composer.
I didn't stand out to be honest.
Singing blue velvet in different fonts.
Yeah.
All right.
(43:46):
This is by a person named Bronwyn five stars.
I think PBR is better than Heidenken.
And I also enjoy listening to.
He's like an Alexis.
He's a pervert.
They say, should I be worried?
I don't think I'd fuck anything that move, though.
Anyway, this movie rocks.
Five stars.
Thank you, buddy.
(44:07):
But PBRs are I've never had.
I've never had PBR.
What does it taste like?
Like LA water.
LA water.
Like with piss or without piss?
LA.
I've had Heidenken.
LA water has piss.
Heidenken I don't like either, to be honest.
That's like a light beer.
I mean, it's not bad.
I'll take Heidenken over PBR.
I'm just curious.
(44:29):
What are your final thoughts on this film?
One through ten.
Give me one through ten and then maybe even compared to Lost Highway just for brief.
One through ten.
I give it four.
OK, four out of ten.
And I definitely do see a lot of aspects of what he did in Lost Highway.
And again, Lost Highway is a much more refined version of this movie.
And again, this movie had a lot of good bones.
(44:53):
And I think the topics to me didn't seem to outlandish.
I just again come back to execution.
And we see that David Lynch gets a little bit better with which is a little bit.
You get much better, much better.
I'll give him that.
He gets much better by the time he comes around Lost Highway.
I feel like I could rewatch Lost Highway more than I could rewatch Blue Velvet.
(45:14):
Oh, no, for sure. Absolutely. Absolutely.
And again, this Blue Velvet, if I watched it every 10 years, I think it'd be too much.
I'm like, Mommy, Mommy.
I kind of want to watch Dune now to see how fucking romantic that is.
I've never seen it. Imagine we love it.
I've seen snippets of it.
And the shield, you know, the vibrating shield thing that they had.
(45:35):
It's so fucking stupid.
It looks like pentagons and squares and like the CGI uses for this.
Dune with Rock. Let me pull this up.
D-U-N-E. Oh, the original.
You sound like a guy.
You were... Dune? You thought we were talking about Dune?
I was like, dude, that movie did flopped out.
Usul.
(45:57):
Dune, bro.
So nobody knows how to make realistic fucking video game movies.
It's sad because when he made Dune, I guess he didn't have directors cut,
which is why he had directors cut for this movie and all the other films from then.
But, you know, if flopped so bad, it kind of broke him.
It broke him.
What's David Lynch's movie he's known for?
(46:22):
Mulholland Drive.
Have we seen it?
You saw it. It's the ones with the girls in L.A.
Okay, that one's good.
Look at this. Look at these shields.
That's the CGI.
That's fucking...
I mean, this is the 80s.
Yikes.
All right, George, give me your opinion.
4.5. I didn't like it. Very graphic.
(46:45):
The themes were good. I didn't like the way he executed on them.
And then also it was just so outlandish and out there.
And the connections didn't really...
It's the nudity. That's why you don't like it.
No, just in general. 4.5.
Lynch has done better.
Lost Highway, though? I love that. It was good.
You explored the characters.
(47:07):
Interesting.
Actually, I haven't seen all of Lynch's ones to say that, but so far, Lost Highway was my favorite.
You only have like 20 movies he's made?
I wish. He's only got like six or seven.
He hasn't done much.
Well, for me, I'd have to give this one like I think of...
I was going to say 5.5, but I'm going to round up to a 6.
Wow.
(47:28):
What the fuck, Nick? You can't just be giving.5s away like that.
You're better than that.
The reason why I want to give this a little bit more is because like I said, it did a really good portrayal of trauma.
Like PTSD and shit that people go through.
So I respect that, especially from an early film, because even film nowadays,
the amount of times that you watch a fucking action film and it's just like, oh my God,
(47:49):
they just killed all of my family.
All I need is a hug from the protagonist and I'm better.
And it's like there's no fucking repercussions of the shit people go through. It's annoying.
Like life is way more hard than that and people go through a lot of shit and people end up like Dorothy
and not enough movies show that.
So I really liked the real portrayal of that.
Like I said, I didn't think it was a visual stunning movie or like the soundtrack.
(48:13):
I don't know. I guess everybody else heard something we didn't really hear.
I missed it.
But it was...
The soundtrack to Lost High was great.
Yeah, it was really good.
Yeah.
You know, Rammstein.
Rammstein.
But like I said, everything else, like I didn't really hate on this movie,
but it also didn't impact me as much as Lost Highway.
So I think it's a solid six.
I appreciate that. That's an honest review right there.
(48:34):
You know, I'll give it like a 7.5 just because I think I connect to certain things.
Like there are, you know, like Nick said,
I appreciate that it shows that kind of weird demented side of our world
because it's not...
People are uncomfortable seeing it.
People are uncomfortable showing it.
And so I appreciate it here.
You know, not that it's this is a movie that I like to rewatch or anything
(48:55):
because it is uncomfortable for me, you know, but yeah, I like his vision.
So yeah, I guess if we add it all together.
Like a five?
So we give it a five and a half.
The four guys give it a 5.5.
One of our lowest.
Alexia sounds fucking...
(49:17):
He's like, God damn it.
He's like, wow, this is one of our lowest for sure.
He's like, this is one of his favorites, dude.
It's not one of my favorites, but now I have to go and tell David Lynch
that people didn't like his movie.
Yeah, you personally...
I personally have to go and tell him.
Go to a Q&A and yell at him.
You fucking suck.
Did you know that the Four Guys One film gang gave you a 5.5?
(49:38):
I'm sorry.
Who?
Okay.
If one day we actually get like a famous director just like really reach out to him,
he's like, I heard you guys this fucking review.
How fucking crazy.
Fuck you guys.
He's like, fuck you.
Bro, you think directors are gonna go fucking...
David Lynch was that one guy who left us a TikTok response.
You know what?
The most boring conversation in the world.
You know what though?
(49:59):
He was listening to Ramson in the early 80s.
That's a little weird, man.
We should just like start hitting up like, not like big producers or directors,
but just anyone in the industry that's low level.
And then we just roast them for movies we don't like.
Actually, I met a producer who worked with David Lynch back when he was starting off.
He's actually, he's an investor in a place that I work.
(50:22):
Very cool.
But anyways.
Maybe we get him on the pod.
Yeah, he's actually, he co-created Showtime.
There you go.
Very cool.
Dude, the secrets he could tell us.
I know.
Dude, he was telling me some shit.
But anyways.
Why can't we, we need to start having gas on this fucking show.
Line him up.
Dude, we can...
You're gonna have to cover most of this up.
Yeah, yeah.
But anyways, if you like this episode, if you didn't like it, let us know.
(50:48):
You know, we're four guys, one's film anywhere pretty much.
No one's taken our name.
Like it's just, we've claimed it all.
Yeah.
I think it's kind of a...
We should legally copyright it.
Do we even need to at this point actually?
No, it's like...
It's like fair use now, right?
No, that's how people get screwed down the road where it's like you never copyrighted it
and then someone takes it and you're like, what the fuck?
(51:09):
It's like with the fucking guy that didn't, Taylor Swift didn't copyright her own name on YouTube.
And like somebody just one day decided to make a YouTube channel on Taylor Swift and just literally put all her music
and then collected millions of dollars of her revenue.
Wow.
Like pretty much in a couple of months until like the Taylor Swift team found out like, oh shit,
we do not have ownership, our own name on YouTube.
And this dick has been collecting all of...
(51:31):
That's crazy.
He literally made millions...
There's people that make a living off shit like that.
It's crazy.
Yeah, they'll make like Twitter accounts like as fast as possible.
Yeah, handles, all sorts of shit.
And then they're like, all right, I bet on this person winning.
Now they win.
Now pay up.
You have to sell me the fucking rights to the account.
Fuck.
I respect that.
That guy is like, he made fucking money.
Because all that, all like it was a couple of months where he was just collecting Taylor Swift money.
(51:54):
And then Taylor Swift bought it.
It happens to all sorts of companies, which is crazy.
It happened to Google one time because they forgot to re-rebuy their domain.
And then this guy saw it for sale and bought it for like...
Exactly a hundred bucks.
But then, I don't know, did they end up ever like giving him money?
I don't know if you just give it back.
I forgot.
I think Google is just suing like real fucking hard.
Yeah.
(52:15):
Yeah, like crazy.
Yeah, but you could find a...
Look Alexis, choose a better movie maybe.
We won't talk, only movie talk, all right?
Hey man, we chose Masters of Disguise, okay?
The best movie.
The best movie.
Oh my God.
And your opinion was pretty shit in that one.
Look, I can't believe people still keep down with that.
Watching it.
It's a hot one.
Apparently there's so many fans out there for it and I fucking hate it.
(52:38):
And you too, and you, and you for liking that.
Yous are the worst.
Dude, I remember watching this shit and getting raised in the shit.
Video sky, I had this big ass poster.
Don't put me in the same circle with Alexis again.
Turtle.
All right, well this was For Guys, One Film.
Alright! You're listening to Four Guys, One Film. What are you laughing at?
(00:07):
Jorge's bitch-ass.
Alright guys, wow.
This part is going to have a lot of hate.
It's going to be a lot of hate, a lot of loudness, a lot of lynch.
A lot of opinions, okay?
This is going to be the first movie in a long time where we just haven't been able to watch it and review it on the same day.
Yeah, we're here a week later after watching David Lynch's Blue Velvet.
(00:31):
I'm upset.
What are you upset about? I mean this is a beautiful Americana film right here, okay?
It's fucking eerie and creepy as shit bro, to be honest. It's creepy.
Well you know what, I'm kind of glad that you guys have these opinions.
But it's not like a creepy in a good way, like oh shit I'm going to get scared.
No, this is creepy. I'm like this guy's one's a fucking pedophile.
Wait, who's the pedophile?
(00:52):
The fucking main mommy.
Mommy, I want to fuck. Baby, I want to fuck.
And he's abusing, like physically and psychologically his poor woman.
And she kidnaps her child.
The crazy part is that none of that was in the script. He just said that he was into that.
(01:12):
He's like, wait, wait, wait.
Dennis Hopper is a fucking freak.
Don't cut, don't cut.
Well, I mean.
He's like, let me just spitball here.
To anybody that's listening and they've never heard of Blue Velvet and they've never heard of David Lynch.
Good, keep it that way. Never watched that shit. That shit was weird.
If you don't like the weird stuff, don't look into this.
If you love the weird stuff, you better go balls deep.
This is a discretionary, like, tail ring.
(01:35):
Before you, like if you're going to watch David Lynch movies, it's going to be fucking weird.
Because David Lynch is known for his very surreal, dreamlike films that make almost no sense to the average viewer.
I mean, I like Lost Highway. That was surreal and weird.
Well, we'll get into that.
But it wasn't like anywhere like this.
Well, you know, it's funny because on the surface, Blue Velvet is pretty, pretty straightforward because this is just about a regular guy, regular kid who finds a severed ear and looks like yesterday.
(02:01):
Yeah, exactly.
It's just a casual occurrence.
And he just decides to kind of go into this is like, where does this ear come from?
And through this journey, he kind of sees that there's this weird underbelly, like just some weird shit going on in this, like, you know, quote unquote, perfect little town.
You know, and he meets some crazy characters like Frank.
No minorities. It's fucking crazy.
(02:23):
Zero actually.
Was it 1960?
No, no, that's not true.
Where's the diversity hire? Jesus Christ.
The kid, the main kid.
He was like, there was one Italian.
Was it was named Jeffrey?
Yeah.
Jeffrey Beaumont, right? He was working with that blind guy.
That's not a bad idea.
I mean, that's a different kind of.
You're talking about the hardware store. Yeah.
(02:44):
Yeah, the hardware store.
They were like, what can minorities amount to at this day and age?
They can be clerks at a hardware store.
And like the 1980s, 1980s.
But yeah, I make manager one day.
I mean, yes, guys, it is a weird movie because you see a lot of violence against a woman.
You see some very perverted characters.
You see some crazy people.
(03:08):
I'm OK with that.
You mean a woman.
It isn't my problem.
I get it. Like that's what I enjoyed about it.
Now let's talk about what I dislike.
She got away.
No, because you can use all those elements to tell a fucking movie.
You get to tell a story, right? Right.
But I feel like there was like.
It just he just did it just to be fucking weird.
OK, it wasn't even like, oh, I'm telling a story through this.
(03:30):
It was just like all this weird shit's happening.
Let me hyper illustrate all this shit.
No, I totally disagree. I don't think it was like just fucking.
I think it's very purposeful.
Straight debauchery for no reason.
I think it did have an overall meaning that like is just the good,
the evil and how there's a slippery slope in between.
But I didn't like how it was depicted, to be honest with you.
(03:52):
I do see that the message is there.
Personally, I was not a fan.
I did not enjoy it.
And that's I think that's OK, because obviously you're uncomfortable with with what you saw.
Yeah. Like this is not a normal, a normal story or normal, normal film to you.
I just don't see how these pieces fit together.
I just didn't like the execution.
(04:13):
Like I can see how all these pieces would fit if the movie was better written.
Actors were OK.
And I think just we first of all, we got we got Dennis Hopper in here.
He was we got Kyle McLaughlin.
We got Laura Dern. Laura Dern's crying ass.
And we got Isabella Rosalina, who's a who's a who's legendary actress.
Also crying was ass.
(04:35):
I thought she was incredible in this.
Weren't they all kind of in the beginning of their stages, though?
Half of them were like three quarters of the way into their stages.
Really? Yeah.
Dennis Hopper was already holding. Yeah.
Yeah. Dennis Hopper, he already did Easy Rider, obviously, like maybe like 10 years before this.
Kyle McLaughlin, definitely Rising Star, Laura Dern, same thing.
And Isabella Rosalina, she's an Apple baby, her parents.
(04:56):
Yeah. So it's just like some of them are pretty sad.
There was a good mix up of like who, who could have.
Yeah, I see what you did there.
So I think was OK. It was just I feel like the execution wasn't there.
I just the way it was written wasn't there.
I feel like it was like, OK, it's it's it's doing too much in the subtle nuances factor.
Like, OK, like you really got to think through this fucking movie, which is fine.
(05:19):
If the movie had actually played into the topics it was trying to illustrate better.
This movie just wasn't fucking pretty.
It wasn't. I hate to say that. It was too raw for me.
I love it raw. No, no, no. The thing is, like, there's a way.
There's there's a way to depict this type of like violence and debauchery and like.
(05:40):
And then this was just like two in your face.
Like you can just fucking insinuate to it rather than know, because it's like I've seen so many other better ways where it's like they don't have to depict the actual violence on screen.
But I think the shock factor that he was going for just like really try to catch.
I think he was just like, I'm going to try to like like separate myself from other people and I'm going to be really like captivating, very like like in your fucking face.
(06:06):
Again, it could be great. And we do what they said, but like subjects, it has to be done well.
You know, I kind of feel that that direction is a bit refreshing because he's not afraid to show you what's what.
Because like this is reality. Like, it's not I'm not saying that these situations are like, oh, this is this happens like right now.
But similar things happen. You know, women are abused.
(06:28):
There are crazy psychopaths out there and there is weird stuff going on.
I want to say, you know, this movie was crazy to think about, like how it portrayed like PTSD and trauma in general, too.
Like the woman, you know, she she changed to the point where she now was craving the abuse.
Like she was like, hit me. And you could see every time she got hit, she would smile and like it felt good to her.
(06:50):
It's like when I hit George. Yeah, it's like Stockholm syndrome. You know, you just got to honestly abuse her.
Yeah, exactly. He came a little bit right.
He loved it. Not yet. Not yet. Imagine. But who's next?
But the idea that like it shows that, you know, sometimes like these movies only show like the little bits of trauma and shit and like and then they move on.
(07:11):
Like they don't show like how trauma can impact over extended period of times and like shape your psyche.
Yeah, I think I think that's the thing here. Yeah, it lingers on the on the trauma.
Like when you see Frank beat up what's her name, Dorothy, right?
Like you see Jeffrey still like staring at her through the closet.
And, you know, I think maybe in a typical movie, you know, you'd move away from that because it's too uncomfortable, right?
(07:34):
But we still keep watching. But in a way, I think David Lynch is kind of like a genius because because Jeffrey Jeffrey represents us in a way,
because he's he's just a regular guy who's falling into this thing and, you know, all of a sudden we're seeing the world through his eyes.
And, you know, we're looking through the closet just like him. And so we are just like him.
He's just your run of the mill pedophile. Yeah.
(07:56):
What makes him a pedophile? I'm sorry. He was like 27. Dating a fucking 16, 17 year old.
And then he just was 18. And then he just fucking peeping Tom over there sliding in a woman's closet for evidence.
He was just like us. He's 25 dating a 17 year old girl and the girl explicitly said, I have a fucking boyfriend creep.
(08:19):
And he's like, you know, now it's cool. It's not like that. It's not like that.
Fuck is that she like they start kissing and making out. And then he's like and she's like, I love you.
Yeah. Yeah, whatever. He said it back. No, he said it back. He said I love you, too. And then he fucked the other girl.
Right. That same day. He's just like us.
But I think maybe George, I don't know. I think it's a mistake.
(08:40):
Alex is the one making the comparison. It's a mistake to to watch David Lynch film and look at it objectively because his films are not on the surface at all.
Like, yeah, like obviously he's dating somebody who's like slightly younger than him. He's like two time her this and that.
But he's like 10 years apart, buddy. I don't think it's 10 years. He said he was 25. She was 17. They said that. Yeah, that's disgusting.
(09:02):
But look, like it's not about what it actually is on the surface. It's about like the mood, the feeling, what it's trying to portray.
I get that. But there's so many other ways of portraying it. This leaves nothing to the imagination.
But why would you like the graph? The scenes of graphic violence are like they linger.
And I'm like, this did not need to be a fucking five minute scene. Jesus Christ.
And you know what's crazy? This is super tame compared to some other stuff. It's very tame.
(09:26):
And like it took 20 minutes, like in the first 20 minutes, just where the guy picks up the ear. Right. That that was like a big waste of time.
I'm like, OK, like I was going to I was going to mention this. That's where I don't agree. This movie is extremely unreliable.
That's what bugs me. It's like he spent 10 minutes picking up a fucking ear. OK, Van Gogh.
God damn it. Let me say that. Isaac, you know, he walks by a fucking park, you know, he's strolling around looking at 17 year old girls.
(09:53):
You're in your mid 20s. And he finds an ear.
You know what Isaac, the big ass brown fucking person doesn't do is pick up an ear and go to the cops.
Because the first thing that they're going to do is say he didn't pick it up with his hands.
Where did you get this? He picked it up with his hands. Yeah. Who did you get this from?
He still picked it up with his hands, asshole. What do you mean he didn't pick it up?
(10:14):
But only one hand because his right hand was occupied. Right. Yeah.
But anyway, like I said, people of color, they don't apply to this. It's like horror movies. They're like I they're screaming that way.
Got it. Turn around and go the other way. What does that do with anything?
What I'm saying is like this movie isn't relatable in the sense of like he consistently Jeffrey was just like, I got to solve this mystery.
I got to solve this murder. And it's just like, yeah, we see crime. We're like, no, no, I'm good. I'm going to get blamed.
(10:39):
I need to get away. I see what you guys are saying.
But you're approaching at it or approaching it like totally wrong because it's not the fact.
What is the what is the relatability factor?
I like movies and he did not put them in the front.
So I'll say David Lynch, you rolls and then Nick is unhinged at the moment.
(11:00):
No, I think he's very hinge Alexis. Where is the relatability?
Tell us. Tell us. Because I don't see a fucking spec.
The film is doing in here. How is this relatable to the norms?
What was your question? I want to ask the guy that he went to school.
Like, how is this relatable to the normal people?
Because Alexis claiming that it's like it's relatable to all of us.
(11:24):
The guy is his whole fucking. I don't think I'm saying I'm not saying it's relatable to us.
Like we can live. I'm saying that he no, no, no, I'm saying that he's a guy like us.
I'm saying he's he's like us. Yeah.
He's just a regular dude until he starts going into this weird journey
and he starts seeing this weird shit and doing weird shit.
I think because he isn't he doesn't start off as this weird guy.
(11:46):
He's changed by the things that he sees. He was a pretty weird dude from the beginning.
No, but that's that's also the other thing is it's already in you.
Like like I'll be honest, man. I think I think we're all perverts, aren't we?
We're we're a little weird. We're lucky.
I mean, I don't know about pervert, but weird.
Yeah, you're going to miss me with that.
But those are the Japanese. You guys watch the same videos I do.
(12:10):
Oh, my God. Hey, bro.
He's like, wait, you guys remember you're on a public train, you know, you don't do the you don't do the.
Remember, remember when they had to put the clicking sound on the cameras nationwide
just because of, you know, what you guys got going on over there.
He's like, come on. So then maybe we're not perverts, but we're at we're at least
at least the worst choice of words you could have used.
(12:32):
At least we can say that we're curious people.
I would say maybe maybe what you're saying is we have primal instincts.
Like as humans, we're all primal, right?
There it's encoded in our DNA. There are certain urges that people have just as humans.
Right. OK, because that is completely different.
Let me let me bring something up. All right.
We're watching the movie. Jeffrey is in Dorothy's house in her apartment.
(12:55):
He's in the closet watching her get naked. This and that.
You guys are watching. You guys are watching the movie.
You made me. No, no, no, no.
But I'm saying you guys had you had a choice to close your fucking eyes or leave the room.
So did you and you. But you didn't do that. You kept watching the movie.
But look, this is different. Just for science.
We we didn't know what was going to happen next. Right.
(13:17):
So we don't know if she was going to get naked.
For all we know, she could just take it off. I'm like, you said it says the one that's like, oh, where's the titty?
Says the one that was like, I don't see no titty. I'm watching.
He's all aggressive now.
He's like, no, I mean, I get your point.
And like, they're like, I'll say we're all weird.
And obviously, like, yeah, I think maybe Purvace is too strong.
(13:39):
And Primal was good, too. It's like, which one of us is not like a sexual scene where he's kissing Jeffrey with lipstick ten times.
Did we go to one of Diddy's parties? Maybe. Maybe.
I won't confirm until it's confirmed. But like that's what I'm saying.
No more parties in L.A., dude. That's why.
It's like Jeffrey is in there doing something wrong, but he can't look away.
(14:02):
And he's staying even though it gets weirder and weirder and weirder.
See, a normal person would have had at one point or another is like, when is enough?
Like, as a normal person, we have, OK, do is this like we have, I guess, certain things ingrained into ourselves.
That's what separates us from being weird, from being pervert.
Yeah, because you could also make the argument like he's in a closet and he's so close to getting caught.
(14:26):
So he's keeping like vigilant. He's also kind of like, fuck, like, I don't want her to see me.
So he has to stay.
And clearly he's a weirdo because he went to her apartment like.
Yeah, that's also fucking. Yeah, he has some sort of like thing about him that he feels like he has.
Yes. And even in that time, right, he found the fucking ear in the forest.
Right. He was walking around in a fucking empty forest and you find an ear.
(14:48):
I'm not going to fucking pick that shit up, even if it was the 1960s.
He's got a jizz on it. Also, that's that's where you're really fucking this guy.
They say we're not fucking perverts. This guy over here.
Jesus Christ. But also, for most fucking teenagers, apparently this guy was a fucking teenager.
That's where it ends. Yeah, that was college grown husband.
(15:11):
Whatever. That's where it ends. You pick up the ear and you're like, this is it.
That's all it came up to. And you're totally right.
But then this thing escalates because this guy can't let go of that morbid curiosity of where is going to lead me next.
He feels like he has to be the one person wouldn't go to those extremes.
It would be like, OK, I found an ear. I'm not going to touch it.
(15:32):
I'm going to remember where the fuck it's at. Call the police. Come back.
That's even if it doesn't matter what age you're. Yeah, that's the rational fucking.
Well, that's fine. But I think we're kind of losing track because it's not about whether a normal person would do this or not.
It's about this kid's journey. Well, I think Alexis has a valid point.
Lynch does take you through a journey through this normal kid that eventually goes down a wrong path.
(15:55):
And then it just as easily could be him becoming what's the fuck? Frank.
Generate Frank. He could become because Frank literally same thing.
He just went down the wrong path all of a sudden.
Now he's like into some weird shit. He's also hanging with the wrong people.
He's fucking off the rails on cocaine. But Frank, it could have just as easily been.
Frank had something you can with Frank.
(16:19):
You can tell he's had some abuse as a kid. Not like. No, but that's exactly he got that kid got abused by that lady because it's a cycle.
And then it just as easily he could have liked it and then became the abuser or a victim down the road.
The difference between Frank and what was the main character's name? Jeffrey.
Jeffrey is that Frank, you could tell, has some like trauma as a kid and fucking Jeffrey just look like he knew the fucking very normal, boring fucking life in the Midwest.
(16:46):
And he's like, you know what? I'm going to venture out. And he went way too fucking deep, way too fucking fast.
Exactly. No, that's the whole thing that Alexis is trying to say and that will Lynch was trying to depict.
And I can see that. But even then, I'm kind of like, I don't know. It's not that simple. You're not just having yet two or three fucking interactions like that.
And then now you're a fucking drug addict.
(17:07):
Clearly, Jeffrey wants something like this. But I think he thinks that he's going to be safe the further he goes.
But obviously he isn't safe because he reaches a breaking point when he meets Frank and they take him out and he thinks he's going to die at some point.
You know, and he just sees this like weird sick world. And then there's that scene where he's back home, you know, in his room and he's breaking down and crying.
(17:28):
Like that's that's a normal reaction, I think, to all that's happened.
And also there's a there's a parallel between the high school girl and then this older.
Yeah, because he's like he just as easily could fall for her because she's like she's bring something new and erotic and different.
And then you have the girl that's like goody two shoes like she's still there.
(17:51):
There's a lot of there's a lot of this or that. Like you said, the innocent girl, the not so innocent girl, the normal life, the Frank life.
It's interesting to see, too. Like, I hate to say it, but like the idea of like how like naive she is being so young in the sense of she's like, I forgive you.
I love you, you know, no matter what.
Who cares? She did. Has left her boyfriend. Yeah, she left her boyfriend.
And she's and she's like I feel like women in particular go through like that thing where when they're so young, they end up with assholes who will just walk all over them and like treat them like shit.
(18:21):
And then it unfortunately like just I mean, you have you have no choice but to grow some sort of thick skin or shell and just be like, I'll never let another person talk to me that way.
George did in his 20s. Exactly. And then he is in his 20s. And you end up with doing it.
Allegedly, allegedly. And then you keep going and you end up with someone like what was her name again?
Dorothy. We should have brushed it off. It was it's been a week viewers.
(18:46):
Sorry, Frank is a bad guy. Jeffrey's the main kid. Dorothy is the blue velvet.
And then I forgot Lord. The important thing is that we know what the fuck happened. Yeah, that's the important thing.
OK, I mean, at least it's not like Lost Highway where we had to fucking read some spark notes and dive deep into what you say.
(19:08):
And we're normal to guys. We don't understand everything.
One go. Yeah. So so, you know, this is this is a come out of a sophisticated.
We're very sophisticated. We're not movies. Not as guys. We're just curious.
Yeah. Thank you. Like we were directors had to the car. Right.
No underwear. No underwear. I kind of want to ask what is the most uncomfortable scene in the movie for you guys?
(19:32):
I don't think it was uncomfortable. Just bad. Like it was just the execution.
And you know, like I think I mean, yeah, like this weird scenes like where he Frank puts on makeup and like lipstick and just tries to forcefully.
I was just like, what the fuck does that even is that a power play?
I remember having to rewatch that scene multiple times because I can never finish the movie after watching.
He couldn't finish. He just couldn't finish. I kept watching it.
(19:56):
The scene was too short. And it's like I didn't have to rewind it 10 times.
Not next proudest fat. But he got the job done.
Shit. A win is a win. But yeah, again, a lot of it has to do with a lot of it has to do with execution of what how he he did stuff again.
The topics I don't think were too crazy, even for the 80s when he did this movie.
(20:18):
Like you could touch on all that stuff. I think it just wasn't there was like zero class zero like fucking.
What do you mean class? Yeah, I think I mean, what do you mean by class with this?
Like he like as a filmmaker at that point, he still didn't have like sophistication to like the reasoning.
Like like there wasn't like any like like you just feel like it was just inserted to just insert it.
(20:41):
It's like, yeah, what point did he did again like the lipstick? Like what point did that fucking play to the overall like scheme of the movie?
Just showed that it just it just illustrated more the fact that the guy was a little deranged and yet obviously had some fucking issue.
But that was already preset from the way that he treated his girlfriend because he had kids like that was all like all that stuff was already in there.
Weird. He just I think there's you're sorry. I was going to say I think there's extreme examples where this works well.
(21:06):
Like I mean, I'm trying to think off the top of my head. It turned to Tarantino movies.
There's extreme gore and violence. And a lot of times it serves a purpose and it's done well.
Another example, Oldboy, we recently watched that the scene where he's cutting off his own tongue and it's graphic, it's gritty and it's like violent.
But it serves a purpose. He's in agony. He's in such disgust. There's a lead up done. Yeah.
(21:30):
It serves a purpose. This is just blatant like thrown out there and not it doesn't it's too in your face and it doesn't serve a friend's character just felt like he just it just kept like all the characters felt like they were one up in each other from from whatever was happening until the point where either they died or they knew that they no longer want to do it.
And they wanted to not do it like probably midway from them when I think themselves.
(21:52):
It just felt it felt very tasteless. A lot of time it felt like, OK, I get it. What is it? What are you trying to illustrate? There's nothing else besides it made it instead of being a movie that had a lot of thought, a lot of a lot of depth into it.
It made it seem very above the surface. It made it like like unless you're really into this genre, which you know, clearly Lexis is just like pervert.
(22:18):
We all are, you know, like whatever. Right. But like it just like the necessity for it wasn't called for.
I feel like the movie's tone wasn't. Yeah. You know, it's interesting because when the movie came out, it's very controversial, obviously because of those scenes with with Dorothy Men Kissing.
And I think that was the only issue. Probably there was homosexuality. I don't like that showing what I do with my wife at home. But also, I think the scenes with Dennis Hopper where he is, it's a very weird character that I don't think I've seen in another movie where he's just very like balls to the wall.
(22:56):
I don't know what he's doing, why he's doing it, but he's just this like living embodiment of fucking rage and randomness and anarchy. You know? And so I think I think these characters aren't supposed to be like in a regular film, like in a regular narrative story.
(23:17):
You know, I think they function in a very different way where I don't know, I guess I could compare to like, you know, when you see a painting, right? Like there is no story being told, but you get reactions by seeing certain colors or in landscape.
Like, I don't think he's creating a regular movie here. I think it's like just a weird movie. It's all very deliberate and intentional. I think it's a mood that he's trying to or an atmosphere that he's trying to create.
(23:41):
Like let the audience fill in the right things. I think it's a very like, again, it's a very classless way of trying to create atmosphere, especially like, again, it just, even if you're a fucking psychopath or a crazy person, there's still some type of fucking reasoning for what you're doing.
That's not true.
(24:02):
I mean, kind of by definition, there really is. Not by definition, but like there's certain like, okay, like if I know this character is going to do this because this ticked them off. There's like, there's some type of reasoning for the reason why they did that.
I'm not saying their reasons for doing it are logical. Right. I think that's two different things. In this case, it just seemed like it was illogical and no reasoning behind the actions of Frank as a whole.
(24:25):
I think, well, Frank was the only illogical character in the film, wasn't he? Like did you feel like you understood where everyone else is coming from?
Yeah, no, no, the girl, the teen, she didn't act like.
No, I think she acted like a teen girl, in my opinion. But what I was going to say was actually, it's like there's a whole lot of like, you know, I was trying to think about like other movies for a second because my point that I was going to make was the idea of like shit not making sense.
(24:50):
But you look at Lost Highway and some of his other films, it's like some things are just like, you're not supposed to know what the reasoning for it is.
But I feel like it ties in a little bit better. Like even the scene I was telling you was like the scene with Ben where Ben is like singing along to a song and they're finding out like, oh, go let her see her kid, go let Dorothy see her kid.
And like, he's just like, I love Ben. This fucking guy is great and all this other stuff. Right.
(25:15):
Like, it was again, kind of like Isaac was saying, shock factor, just watching him like in another derailed state with other derailed people.
Like it didn't really, in my opinion, help. Like it was cool and it was fun and it was like interesting.
But like, when I think of like Lost Highway, all of the crazier scenes, I feel like really did impact the story.
(25:38):
Like if you would have removed a lot of that and just shown him like angry saying, hey Ben, and then be like, go let Dorothy see her kid.
And then like then mess with Jeffrey a little bit and then they leave right away and none of the singing and the other stuff wouldn't have changed the film at all for me.
It wouldn't have done any different. Ben's introduction as a weird character who did his own things was just like, I want to say useless in a mean way, but like useless in like it didn't really add to Frank's story, in my opinion.
(26:06):
I think I feel like it did add to Frank. I think you see a strange side of him where he's being soothed by Ben as he's singing.
And the way the way, you know, the scene with Ben is framed, it's kind of like it's odd, but sort of angelic with the lights.
And, you know, he's very like, like he's not actually singing, but he's lip singing.
And it's there's something nice about it to me.
(26:28):
And then as you see Frank kind of like, wow, like just like being stuck in like, like you see a different angle of Frank where he's not this crazy, you know, psycho.
But I felt like I disagree. I think he was still crazy. I think what it's kind of like when you like they have those fucking ADHD jokes where they're just like, oh back rooms, back rooms and like jingling keys to try to get someone's attention when they have ADHD.
(26:50):
It's like similar to that. It's like I got to do something a little crazy to like get you down to earth and like back to regular. And I felt like they already showed so much of his crazy side.
So for me, I think maybe it was just a little maybe I will.
I would I connected that scene to is that the chick was a singer too.
And then also he has obviously like attachment issues with like his mother potentially.
(27:15):
So he has mommy issues where he likes talking to her like he's a baby, all that.
And then the motherly, you know, person that sings, that's also an attribute that he would potentially like calm him down and make him feel good.
So she's an actor. I mean, she's a singer. She does that. So him doing that, it's a clear depiction like, oh, yeah, there's that connection.
Maybe maybe that's like a father type figure to him. I mean, obviously, it's not.
(27:40):
I don't know. It's just yeah. Mommy issues could be parental. You can interpret it many different ways.
Yeah. But that's the only connection I saw. But yeah, I mean, those those scenes with all those other demented people, those are very realistic of what most junkies and degenerates are like.
Like literally, it's spot on. That's how crazy people are like. They're not all like like some of them are they're all old, which is was interesting.
(28:05):
You're talking about that. But they look normal. Like I feel like nowadays movies sometimes try to fucking like say like everyone's got to look like, you know, a crack addict who's been at it for 20 years.
No, it's crazy. This is bro. I know like people and like people personally like not not like I know them, but they have been affected by like family members, stuff that are like that.
And they're really completely normal people for the most part because they're highly functioning addicts.
(28:31):
But it doesn't take away from the fact that they're addicts and that they do crazy unhinged shit typically when they're high.
But most of the time, they're normal people, which is fucking crazy to think about unless you know addicts that are struggling through that.
They're literally it's crazy. Sometimes you won't even know people are high like or they're they're at that stage, which is insane.
(28:52):
It's like there's highly functioning people that are like that. So it is very realistic.
I think it's high. Yeah, I'm partners. On partners.
No, yeah. Yeah, I mean, well, I kind of want to bring up this idea, too, because we've seen Lost Highway and Lost Highway was was very dreamlike, very strange.
(29:14):
And I think that's a more like established or defined vision that David Lynch did.
You know, and I think Blue Velvet is a bit messier. But in some ways, this feels like a nightmare, too.
You know, this is these are weird things happening that don't make any sense.
Things strange things happening in the background. And Jeffrey is just kind of like just there speechless.
(29:35):
He doesn't really do much or say much. He doesn't really do anything until later when he actually punches Frank.
And then I think that's where he does the lipstick thing. Right. After that.
Yeah, it was in the car where he punches Frank and then Frank takes him out and he's like, oh, you want me to he pulls out a switch.
And I say, I'm going to kill you. And then he starts making out with him. Yeah, weird.
But it's like a weird power thing. Now I'm proud of that. But now I might least. Yeah.
(30:01):
So I want to know who the least is. Yeah.
Now, I don't think I'm like able to convince you guys to enjoy the film anymore, you know.
But I think it's interesting compared comparing it to Lost Highway, though.
Now, since you appreciate since you appreciate the movie, what do you like?
What what brings you to this? Like what like what are some of the interesting?
(30:22):
What are the highlights? Because we again, for all we know, we're looking at it at a very above the surface like point of view.
What like? Well, like what changes this movie to?
I think I think you guys are just looking at the movie as best as you guys can probably relate to, you know, like maybe I.
You dumb fucks aren't smart enough to understand.
(30:45):
He's like, look, I mean, with your level of IQ, I think that the problem isn't the movie.
I think it's just your understanding. No, no, like I actually got I had a feeling that you guys were going to not like this movie, you know, because I do think it's messy.
I do think it shows things a little too visually. Like it's it's it's too in your face.
But you know, I like messy. Like I fuck with Lost. I fucked with, you know, lost like lost.
(31:10):
I fucked with Lost Highway. I like the I like you know what it is.
Just all the lost stuff.
Well, no, no, no. Anything lost, you know, lost in translation, lost in space.
Lost type of bussy.
Yeah, but no, like I think for me is just like when you think about like something like lost where it's like, oh, we're going to not give you a lot and then wrap up towards the end of the series.
(31:34):
I started I started saying we're not going to give you a lot towards the end of a season of series.
We're going to wrap up stuff. Right.
Or you think about Lost Highway where it's like everything is really weird and I'm going to make you interpret however you do.
But it's so like I felt like there was a flow like it starts off normal movie gets a little weirder, gets a little weirder.
And then it just like goes balls off the off the wall versus this one was like normal, weird, normal, weird, normal.
(31:59):
Like it kept coming back, which I get that whole purpose of like I'm going to show you that this isn't just like a weird supernatural thing.
It's like what's happening to a real kid or real person in like and could happen to any one of us with a psychopath in our lives.
I get it. But I just don't feel like it's the best example of like a psychopath.
I feel like this is like Joker would have been a better version of that, you know, like a psychopath in real life, you know, and with amongst everything versus like you have other movies like Lost Highway,
(32:28):
which would be like Joker in a universe like with other superheroes and villains, right?
Where it's like it's just weird and wacky and everything like no rules apply.
This is like trying to be a mix of both. And it was I just didn't it wasn't bad.
I enjoyed this film, but it just I didn't execute as best as it could, which to be fair, it's still early David Lynch.
So he tried his best. I can't knock him for trying.
(32:51):
And actually, you know, nowadays people people actually look back to this film.
They really appreciate what he was trying to do because there are a lot of seeds of what he would do later in his career.
Female abuse. Right. Right.
Lots of that. Lots of that. But I kind of gravitate towards it because I like I like a lot of like the visuals, the imagery that like I don't I don't see things like this and other movies.
And not that I want to see, but it's just like I have that kind of curiosity where, you know, I know I know this is kind of weird, but I want to keep watching.
(33:20):
And and ultimately it's you know, Frank is like such a weird character. And actually, I think his death scene was pretty intense, like the way his he got that bullet through the head.
That was a crazy. Yeah. And even just watching the other cop like staying standing while being kind of pseudo dead.
Yeah. Like with his brain coming out. Yeah. But I don't again, those parts are fine.
(33:41):
Yeah. Again, it comes back to just a storytelling perspective. Right.
And what he could have done better. Yeah. And again, he's like one of his first movies. And I don't disagree with you.
You know, I do think it's and it's not what it is. It's just like, you know, like again, this movie is an interesting watch.
It's not complete. It's not a complete waste of time, but it does. It does have its flaws.
(34:03):
And if we're not like going to talk about its flaws, right, then what are we are we just going to be like, I have to go like you say every movie is good.
No, no, no, no, absolutely. You know, and we know we try to give our viewers a kind of an insight the way we see movies and like, you know,
and we try to make sure that it's a little bit relatable to them.
Like if we don't know who the fuck's listening out there right now and we don't know.
(34:24):
So we got to tell you, OK, this is if you're a normal person, you're not going to like this fucking movie.
But if you're a little bit on the wackier side, like you don't want to see something that's not off the beaten off road and it does have its flaws.
But you still might enjoy it. Watch the movie. You know, like. Yeah.
And like I was saying earlier, I think a lot of people can either connect or not connect with it.
And I'm kind of thinking now, like, I think I feel like I've seen some things when I was younger that kind of relate to some of the things that we've seen in this movie.
(34:52):
Obviously not as graphic or as like crazy, but there are things that I saw when I was too young that like it's like, oh, OK, this is kind of like similar to that.
And not closets that you sit in too many every time.
Every time he came over for a sleepover, he just kept saying he's like, I'm going to go to the restroom and he'd walk in the closet and close it.
(35:13):
And I was just like, yeah.
But there's this interesting thing where I guess the scene in the end where, you know, Dorothy comes out like nude, like beaten up and all that.
I was made with the movie. No, those towards the end.
Those towards the end is when memory like when the guys want to want to beat up Jeffrey, it was at her.
It was at Jeffrey's house. I still felt like that was kind of like more towards the middle.
(35:36):
It was like it was at the climax of the movie.
So like we saw like another 10, 15 minutes left. Yeah. Yeah.
But that is something that happened to David Lynch when he was younger.
Him and his brother went out and they saw this naked, like random naked woman like like like come out from from their neighborhood.
And I guess that image kind of stayed in his mind.
And so I don't know if that helped him create this story leading up to that in this film.
(36:00):
But like there's a connection there, you know, like there is. See, but again, that part isn't bad.
It's like he doesn't have bad like bad. I'm not saying that to convince you that it's good.
I'm just saying that there are there are things that you don't know. I led up to this.
And I get that. I'm just saying like just like it was some of the stuff that, you know, and I get it.
He's maybe I'm just beating a dead horse right now.
(36:22):
But it just execution like I don't think necessarily what he was trying to show was bad.
I don't think the topics were were even too outlandish.
And obviously in today when it came out, I think the themes were good.
Yeah, you know, the good in between.
I'll say this is like a house that has really good bones.
Like if you were to remake this movie with like I think he with like a good budget. Right.
(36:46):
And, you know, let's say a hundred million dollar budget, you know, make it a summer release directed by, I don't know, Michael Bay.
Maybe, you know, I think 50 million dollars. Right. Explosions. Explosion.
Cock. Cock. One explosion. One explosion. No, but it's in his pants.
But I think if this movie is like, hey, if you get like the same theme, you remake it and you really put some forethought into the characters.
(37:10):
Forskin. Forskin. You know, I think you have like a good you have a good a good movie here.
You know, I think it's just one of those things with very difficult to execute correctly because the themes
and like topics are so heavy that sometimes you miss the mark.
Like, I'll give you a perfect example of what I thought was a really good way of do it.
No, no, it was Jojo Rabbit. I was going to say Encina, man.
(37:33):
It's literally, you know, Jojo Rabbit is talking about themes of how there's kids that don't distinguish the difference between good and evil.
And despite that, they're raised into like a certain society and they literally can become little Nazis because they don't know any better.
And then that film kind of depicts it in a way where it's like artistically done and it portrays the image really well.
(37:56):
And it kind of gives you, you know, a very good vantage point on the situation. I like Jojo Rabbit.
Yeah, it was great. I loved it. I thought it was masterfully done.
It was also kind of a comedy and a satire, which is like people didn't like it because it showed Hitler as like this funny, you know, weird guy.
Oh, the Germans didn't like it? All the neo-Nazis were like, yes, they get it.
(38:20):
No, but see that that could have just easily has been like a horrible movie, like where it's just like, yo, this is too off the rails and fucking like comedic.
And it's like not like serious at all.
Another great example, too, is Jordan Peele's movies.
Like all of his has so much messages and like heavy tones and stuff like that about like what it is to be, you know, a person of color today, especially a black person today.
(38:43):
And it's like it doesn't ruin it by any means.
Like Get Out was phenomenal. Yeah. And like, yeah, it's extremely like underlaying with like racist.
Yeah, but you're you're on a fucking thin line, right?
Like you're walking razor thin lines and like some scenes that are like, oh, my gosh, like I didn't even think about it.
Or even like a fucking Tarantino and Polk Fischer when they get fucking the.
(39:07):
Yeah, that was fucking crazy.
It just it just we all love the game.
You love the game. We love the game.
Alexis was a fan of the ballgag.
Let's go back to our Pulp Fiction episode and we'll see.
We'll see.
No, yeah.
But I mean, all right.
And you want to talk about I'd say let's get onto the letterbox reviews.
(39:32):
All right. So I did take your recommendations.
It's not all just people that follow us.
You know, some random people here, too.
So all right.
You're going to you guys are going to like this review.
This is by Mia.
Two stars.
The aesthetic was nice and I like the colors, but something deterred me from fully engaging with this piece of cinema.
(39:53):
Found it boring and dull on the actual story side of things.
Really wish a rewatch can do this movie justice and I'll have to watch more Lynch to have a proper opinion on him.
Two stars.
I think I think they're kind of saying the same thing.
You're saying that's what's interesting is we're saying the opposite and like we've watched enough Lynch to know he's better than this.
And she's saying hopefully Lynch watching more Lynch will make me appreciate this more.
(40:16):
Right. I see this is like possible with probably you.
You feel like you appreciate it because you know what Lynch is capable of.
You know that like you're like, whoa, he did great for his film.
He's like this like I'm going to see his a film.
I see the fucking buildup like I see like what he came out to 20 years of.
He couldn't have done that without Blue Velvet.
But Blue Velvet laid the groundwork.
I really think it did.
(40:37):
It did. All right.
That was a good one Mia.
Nice. All right.
This one's by Mariana.
Four and a half stars.
Lynch's way of making movies isn't one of my favorites, but this one stood out.
The places in this movie felt nostalgic, adding to the overall visually striking ominous and dark atmosphere.
In fact, the visuals were my favorite thing being so aesthetically pleasing, a nice and compelling dramatic mystery with an enthralling soundtrack.
(41:02):
I remember the soundtrack that much.
I was going to say I don't agree with much of that.
Like I thought this movie was pretty ugly compared to Lost Highway.
Like overall, I mean like literally the buildings that stuck out to me was a brick building.
I know we kept saying like the stairs are pretty cool stairs.
I wanted to take pictures of that.
I shoot pictures off of that.
Like but yeah, like the apartment was like very old school and yeah, I don't.
(41:25):
The the the.
I didn't stood out even the apartment of like the Dorothy.
Dorothy was kind of shitty.
Yeah, yeah, I had like weird materials even for the 80s.
I think like weird colors and I mean obviously that was a choice.
It looked like he did it in this like in a theater.
Yeah, but it does give it a weird kind of look.
I feel like the only scenes that were it really kind of changed around was when he when Jeffrey was with Sandy.
(41:51):
Like those scenes were a little bit more like lively and a little bit better as far as like colors and happiness.
It kind of made sense.
How much does this movie cost to make?
Six dollars.
Back in 86.
That's kind of a lot of money back in 86.
So I mean what does that adjust it, you know, probably like 20, 25, 3.2 billion.
You said it is a billion.
(42:13):
This is fourth film.
Fourth film.
So he did he did Eraserhead, which took him like five years to make.
And he did Elephant Man.
And then he did Dune, which flopped, which is really bad.
Have you seen the graphics for this on our guide?
We were so the producer, he made a deal with said, all right, you can have final cut, but you can only have six million.
(42:39):
You know, the smallest budget film and that producers catalog.
So it seems like it did make some money, not a ton of money.
Obviously, I think I think I think even back then people weren't really like so.
Wait, this was the director's cut.
You're telling me this is what he wanted for all creative control for hours.
They had to trim down to two.
(43:01):
Oh, yeah.
Damn.
I'd love to see that's why this dude is randomly like, mommy.
Okay.
There's like no backstory.
I started blasting.
Maybe if it was a four hour film, maybe there's a reason why he said fuck Heidenken.
Yeah, maybe.
All right.
Next one.
This is by I don't even know how to say this one SM four are four four stars.
(43:25):
The Freudian meanings, the psychosexual and disturbing essence of this movie that captivates you.
The way David Lynch uses music, a unique masterpiece.
What the fuck did we not pay attention to this music?
Like, I know.
I mean, I like the composer.
I didn't stand out to be honest.
Singing blue velvet in different fonts.
Yeah.
All right.
(43:46):
This is by a person named Bronwyn five stars.
I think PBR is better than Heidenken.
And I also enjoy listening to.
He's like an Alexis.
He's a pervert.
They say, should I be worried?
I don't think I'd fuck anything that move, though.
Anyway, this movie rocks.
Five stars.
Thank you, buddy.
(44:07):
But PBRs are I've never had.
I've never had PBR.
What does it taste like?
Like LA water.
LA water.
Like with piss or without piss?
LA.
I've had Heidenken.
LA water has piss.
Heidenken I don't like either, to be honest.
That's like a light beer.
I mean, it's not bad.
I'll take Heidenken over PBR.
I'm just curious.
(44:29):
What are your final thoughts on this film?
One through ten.
Give me one through ten and then maybe even compared to Lost Highway just for brief.
One through ten.
I give it four.
OK, four out of ten.
And I definitely do see a lot of aspects of what he did in Lost Highway.
And again, Lost Highway is a much more refined version of this movie.
And again, this movie had a lot of good bones.
(44:53):
And I think the topics to me didn't seem to outlandish.
I just again come back to execution.
And we see that David Lynch gets a little bit better with which is a little bit.
You get much better, much better.
I'll give him that.
He gets much better by the time he comes around Lost Highway.
I feel like I could rewatch Lost Highway more than I could rewatch Blue Velvet.
(45:14):
Oh, no, for sure. Absolutely. Absolutely.
And again, this Blue Velvet, if I watched it every 10 years, I think it'd be too much.
I'm like, Mommy, Mommy.
I kind of want to watch Dune now to see how fucking romantic that is.
I've never seen it. Imagine we love it.
I've seen snippets of it.
And the shield, you know, the vibrating shield thing that they had.
(45:35):
It's so fucking stupid.
It looks like pentagons and squares and like the CGI uses for this.
Dune with Rock. Let me pull this up.
D-U-N-E. Oh, the original.
You sound like a guy.
You were... Dune? You thought we were talking about Dune?
I was like, dude, that movie did flopped out.
Usul.
(45:57):
Dune, bro.
So nobody knows how to make realistic fucking video game movies.
It's sad because when he made Dune, I guess he didn't have directors cut,
which is why he had directors cut for this movie and all the other films from then.
But, you know, if flopped so bad, it kind of broke him.
It broke him.
What's David Lynch's movie he's known for?
(46:22):
Mulholland Drive.
Have we seen it?
You saw it. It's the ones with the girls in L.A.
Okay, that one's good.
Look at this. Look at these shields.
That's the CGI.
That's fucking...
I mean, this is the 80s.
Yikes.
All right, George, give me your opinion.
4.5. I didn't like it. Very graphic.
(46:45):
The themes were good. I didn't like the way he executed on them.
And then also it was just so outlandish and out there.
And the connections didn't really...
It's the nudity. That's why you don't like it.
No, just in general. 4.5.
Lynch has done better.
Lost Highway, though? I love that. It was good.
You explored the characters.
(47:07):
Interesting.
Actually, I haven't seen all of Lynch's ones to say that, but so far, Lost Highway was my favorite.
You only have like 20 movies he's made?
I wish. He's only got like six or seven.
He hasn't done much.
Well, for me, I'd have to give this one like I think of...
I was going to say 5.5, but I'm going to round up to a 6.
Wow.
(47:28):
What the fuck, Nick? You can't just be giving.5s away like that.
You're better than that.
The reason why I want to give this a little bit more is because like I said, it did a really good portrayal of trauma.
Like PTSD and shit that people go through.
So I respect that, especially from an early film, because even film nowadays,
the amount of times that you watch a fucking action film and it's just like, oh my God,
(47:49):
they just killed all of my family.
All I need is a hug from the protagonist and I'm better.
And it's like there's no fucking repercussions of the shit people go through. It's annoying.
Like life is way more hard than that and people go through a lot of shit and people end up like Dorothy
and not enough movies show that.
So I really liked the real portrayal of that.
Like I said, I didn't think it was a visual stunning movie or like the soundtrack.
(48:13):
I don't know. I guess everybody else heard something we didn't really hear.
I missed it.
But it was...
The soundtrack to Lost High was great.
Yeah, it was really good.
Yeah.
You know, Rammstein.
Rammstein.
But like I said, everything else, like I didn't really hate on this movie,
but it also didn't impact me as much as Lost Highway.
So I think it's a solid six.
I appreciate that. That's an honest review right there.
(48:34):
You know, I'll give it like a 7.5 just because I think I connect to certain things.
Like there are, you know, like Nick said,
I appreciate that it shows that kind of weird demented side of our world
because it's not...
People are uncomfortable seeing it.
People are uncomfortable showing it.
And so I appreciate it here.
You know, not that it's this is a movie that I like to rewatch or anything
(48:55):
because it is uncomfortable for me, you know, but yeah, I like his vision.
So yeah, I guess if we add it all together.
Like a five?
So we give it a five and a half.
The four guys give it a 5.5.
One of our lowest.
Alexia sounds fucking...
(49:17):
He's like, God damn it.
He's like, wow, this is one of our lowest for sure.
He's like, this is one of his favorites, dude.
It's not one of my favorites, but now I have to go and tell David Lynch
that people didn't like his movie.
Yeah, you personally...
I personally have to go and tell him.
Go to a Q&A and yell at him.
You fucking suck.
Did you know that the Four Guys One film gang gave you a 5.5?
(49:38):
I'm sorry.
Who?
Okay.
If one day we actually get like a famous director just like really reach out to him,
he's like, I heard you guys this fucking review.
How fucking crazy.
Fuck you guys.
He's like, fuck you.
Bro, you think directors are gonna go fucking...
David Lynch was that one guy who left us a TikTok response.
You know what?
The most boring conversation in the world.
You know what though?
(49:59):
He was listening to Ramson in the early 80s.
That's a little weird, man.
We should just like start hitting up like, not like big producers or directors,
but just anyone in the industry that's low level.
And then we just roast them for movies we don't like.
Actually, I met a producer who worked with David Lynch back when he was starting off.
He's actually, he's an investor in a place that I work.
(50:22):
Very cool.
But anyways.
Maybe we get him on the pod.
Yeah, he's actually, he co-created Showtime.
There you go.
Very cool.
Dude, the secrets he could tell us.
I know.
Dude, he was telling me some shit.
But anyways.
Why can't we, we need to start having gas on this fucking show.
Line him up.
Dude, we can...
You're gonna have to cover most of this up.
Yeah, yeah.
But anyways, if you like this episode, if you didn't like it, let us know.
(50:48):
You know, we're four guys, one's film anywhere pretty much.
No one's taken our name.
Like it's just, we've claimed it all.
Yeah.
I think it's kind of a...
We should legally copyright it.
Do we even need to at this point actually?
No, it's like...
It's like fair use now, right?
No, that's how people get screwed down the road where it's like you never copyrighted it
and then someone takes it and you're like, what the fuck?
(51:09):
It's like with the fucking guy that didn't, Taylor Swift didn't copyright her own name on YouTube.
And like somebody just one day decided to make a YouTube channel on Taylor Swift and just literally put all her music
and then collected millions of dollars of her revenue.
Wow.
Like pretty much in a couple of months until like the Taylor Swift team found out like, oh shit,
we do not have ownership, our own name on YouTube.
And this dick has been collecting all of...
(51:31):
That's crazy.
He literally made millions...
There's people that make a living off shit like that.
It's crazy.
Yeah, they'll make like Twitter accounts like as fast as possible.
Yeah, handles, all sorts of shit.
And then they're like, all right, I bet on this person winning.
Now they win.
Now pay up.
You have to sell me the fucking rights to the account.
Fuck.
I respect that.
That guy is like, he made fucking money.
Because all that, all like it was a couple of months where he was just collecting Taylor Swift money.
(51:54):
And then Taylor Swift bought it.
It happens to all sorts of companies, which is crazy.
It happened to Google one time because they forgot to re-rebuy their domain.
And then this guy saw it for sale and bought it for like...
Exactly a hundred bucks.
But then, I don't know, did they end up ever like giving him money?
I don't know if you just give it back.
I forgot.
I think Google is just suing like real fucking hard.
Yeah.
(52:15):
Yeah, like crazy.
Yeah, but you could find a...
Look Alexis, choose a better movie maybe.
We won't talk, only movie talk, all right?
Hey man, we chose Masters of Disguise, okay?
The best movie.
The best movie.
Oh my God.
And your opinion was pretty shit in that one.
Look, I can't believe people still keep down with that.
Watching it.
It's a hot one.
Apparently there's so many fans out there for it and I fucking hate it.
(52:38):
And you too, and you, and you for liking that.
Yous are the worst.
Dude, I remember watching this shit and getting raised in the shit.
Video sky, I had this big ass poster.
Don't put me in the same circle with Alexis again.
Turtle.
All right, well this was For Guys, One Film.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!