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Bad Ideas [on WILD AT HEART]
From the August 24, 1990 issue of the Chicago Reader. This is another film (see capsule review of Rita, Sue and Bob Too, posted earlier today) released on Blu-Ray by Twilight Time. For the record, I much prefer most or all of the features David Lynch has made since Wild at Heart, especially Inland Empire. — J.R. WILD AT HEART * (Has redeeming facet) Directed and written by David Lynch With Nicolas Cage, Laura Dern, Diane Ladd, Willem Dafoe, Isabella Rossellini, Harry Dean Stanton, and Crispin Glover. The progressive coarsening of David Lynch’s talent over the 13 years since Eraserhead, combined with his equally steady rise in popularity, says a lot about the relationship of certain artists with their audiences. A painter-turned-filmmaker, Lynch started out with a highly developed sense of mood, texture, rhythm, and composition; a dark and rather private sense of humor; and a curious combination of awe, fear, fascination, and disgust in relation to sex, violence, industrial decay, and urban entrapment. He also appeared to have practically no storytelling ability at all, and in the case of Eraserhead, this deficiency was actually more of a boon than a handicap. Like certain experimental films, the movie simply took you somewhere and invited you to discover it for yourself. Read more
![Bad Ideas [on WILD AT HEART]](https://jonathanrosenbaum.net/wp-content/uploads/2009/12/wildatheart2.jpg)
From the August 24, 1990 issue of the Chicago Reader. This is another film (see capsule review of Rita, Sue and Bob Too, posted earlier today) released on Blu-Ray by Twilight Time. For the record, I much prefer most or all of the features David Lynch has made since Wild at Heart, especially Inland Empire. — J.R.
WILD AT HEART
* (Has redeeming facet)
Directed and written by David Lynch
With Nicolas Cage, Laura Dern, Diane Ladd, Willem Dafoe, Isabella Rossellini, Harry Dean Stanton, and Crispin Glover.
The progressive coarsening of David Lynch’s talent over the 13 years since Eraserhead, combined with his equally steady rise in popularity, says a lot about the relationship of certain artists with their audiences. A painter-turned-filmmaker, Lynch started out with a highly developed sense of mood, texture, rhythm, and composition; a dark and rather private sense of humor; and a curious combination of awe, fear, fascination, and disgust in relation to sex, violence, industrial decay, and urban entrapment. He also appeared to have practically no storytelling ability at all, and in the case of Eraserhead, this deficiency was actually more of a boon than a handicap. Like certain experimental films, the movie simply took you somewhere and invited you to discover it for yourself. Read more
