The 1986 David Lynch film that takes its hat off to the shadow world of Film Noir. Oedipus fantasies, the discovery of a human ear on the way home, voyeurism, crime and retaliation, violence: all of these are present in the film; depraved consumer terror highlighted by a series of strange situations that leave the viewer on the edge of the cinema seat in suspense
And what kind of soundtrack has to be simple? Of course, a mixture of instrumental orchestral pieces penned by composer and conductor Angelo Badalamenti, who refers to Shostakovich's 15th Symphony (which Lynch is said to have liked to play at the beginning to mark the atmosphere of the film), and trashy Hammond boogie and bombastic baroque pop by ROY ORBISON and KETTY LESTER, which will look good in any doss house jukebox
This daring mix culminates in Dorothy's (Isabella Rossellini) version of "Blue Velvet", which changes in a wonderfully scary way into "Blue Star", a piece of vintage pop. The soundtrack begins with the Hitchcock-like strings of Bernard Herman and violin outbursts, which pass the time a bit before they play themes and motifs in a disturbing procession, culminating in "Mysteries Of Love" by JULEE CRUISE. It's a cyclical journey that takes us back to the beginning and yes, there is that torn off ear again, now besieged by ants, proving that dreams can come true - or is it reality that becomes a dream?
We acknowledge the Wurundjeri Woi Wurrung people of the Kulin Nation as theTraditional custodians of the lands, of which we work on and continue to benefit from asvisitors. We pay our respects to their Elders past, present and emerging. Sovereigntywas never ceded. Always was, always will be Aboriginal land.