In turn, Wild at Heart finds itself primarily concerned with the construction of personal mythologies, perhaps the chief example being Sailor and his trademark snakeskin jacket, its donning in spaces both private and public accompanied by a monologue about how it represents his belief in individuality and personal freedom. A character’s specific relationship to it is most thoroughly articulated in the 1990 picture, with Sailor, Lula, and all their surrounding freakshows constantly imitating or projecting their idols, with the two dominant motifs being Elvis Presley and The Wizard of Oz - two items of popular culture that every American citizen is familiar with. Freeman) for a second attempt on Sailor’s life.Īs Wild at Heart’s narrative very blatantly bears the mark of a number of prior noir tales, it’s important to remember that David Lynch has never hid from pop culture, often to the point of making his characters blatantly interact with it - from Frank Booth crying at a lip-synched performance of Roy Orbison’s “In Dreams” to the characters of Twin Peaks doing the same for any time Julee Cruise showed up at the The Road House.
Johnny Farragut ( Harry Dean Stanton), to track them down, while also pegging the far-more-nefarious criminal mastermind Marcellus Santos ( J.E. A failed attempt won’t stop Marietta, who hires her hangdog boyfriend, P.I. This iteration concerns Sailor ( Nicolas Cage) and Lula ( Laura Dern), the both of whom flee from her mother, Marietta ( Diane Ladd), who’d already before placed a hit on him that ended in a murderous self-defense which briefly placed him in jail. This notwithstanding, to place his 1990 feature, Wild at Heart - a highly abrasive, yet emotionally sincere road movie - within the Lynch filmography reveals less about mainstream acceptance and something more concrete about an ideology.īased on Barry Gifford’s novel of the same name, Wild at Heart traces a somewhat familiar two-young-lovers-on-the-run narrative. It’s easy to divide David Lynch’s career into sections of surprising commercial accessibility and complete mainstream alienation - the cultural breakthrough of Twin Peaks being the best representation of the former, the borderline solipsistic experimentation of Inland Empire standing in for the latter.
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