photographed by
Herbert Cardwell
& Frederick Elmes
Hollywood CA 1977
These are just a few of my favorite frames from this disquieting film. I did my best to avoid the more iconic images, concentrating instead on ones that display the distinctive lighting effects, textures and motifs that Lynch has come to be known for, as well as a couple that have only just recently reappeared in the Return. It was a little over forty years ago that this bizarre sensibility made itself more widely known. That it coincided with the breakthrough of PUNK, however little Lynch may have been aware of that other new cultural phenomenon, may help to explain this midnight movie’s unexpected popularity. However, its longevity is likely more of a testament to the high level of technical craft in support of so singular a vision (as well as the passionate commitment of his associates who saw it through to its unlikely completion.)
I first saw it on a double bill at the Waverly in 1981. I mistakenly imagined both films would have lasting influence. The still you chose of the light fixture expresses David's interest in such things. About five years ago he was showing work at his gallery here in L.A. that were sort of combines -paintings with off beat light fixtures. I wish he'd revisit that impulse. His more recent gallery work looks like what you'd expect from a mediocre art student.
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