#FREEWAY EXPRESS REVIEW MOVIE#
Let's say the movie should be taken exactly as is, with no questions asked. Is the joke on us? Is it our error to try to make sense of the film, to try to figure out why protagonists change in midstream? Let's say it is. Instead of massaging them into a finished screenplay, Lynch and collaborator Barry Gifford seem to have filmed the notes. This requires a scene where Arquette is forced to disrobe at gunpoint and stand naked in a roomful of strange men-an echo of Isabella Rossellini's humiliation in Lynch's " Blue Velvet".ĭoes this scene have a point? Does any scene in the movie have a point? "Lost Highway'' plays like a director's idea book, in which isolated scenes and notions are jotted down for possible future use. Arquette comes to the garage to pick up the kid ("Why don't you take me to dinner?'') and tells him a story of sexual brutality involving Loggia, who is connected to a man who makes porno films.
Is this the same person as the murdered wife? Was the wife really murdered? Hello? The story now focuses on the relationship between Getty and Loggia, a ruthless but ingratiating man who, in a scene of chilling comic violence, pursues a tailgater and beats him senseless ("Tailgating is one thing I can't tolerate''). He's released, and gets his old job at the garage.Ī gangster ( Robert Loggia) comes in with his mistress, who is played by Patricia Arquette. The prison officials can't explain how bodies could be switched in a locked cell, but have no reason to hold the kid. One morning his guard looks in the cell door, and-good God! It's not the same man inside! Now it's a teenager ( Balthazar Getty). That mirrors another nice touch in the film, which is that Pullman seems able to talk to himself over a doorbell speaker phone.Ĭan people be in two places at once? Why not? (Warning: plot point coming up.) Halfway through the film, Pullman is arrested for the murder of his wife and locked in solitary confinement. Call me.'' He does seem to be at both ends of the line. As a matter of fact, I'm there right now. They go to a party and meet a disturbing little man with a white clown face ( Robert Blake), who ingratiatingly tells Pullman, "We met at your house. More tapes arrive, including one showing the wife's murdered body in bed. Inside, a videotape of their house (which, architecturally, resembles an old IBM punch card). We cut to a scene that feels inspired by a 1940s 'noir' (" Detour" maybe), showing the husband ( Bill Pullman) as a crazy hep-cat sax player. "You don't mind if I don't go to the club tonight?'' says the wife ( Patricia Arquette). It opens with two nervous people living in a cold, threatening house.
0 kommentar(er)
