Lynch's filmography is a lot shorter than you're thinking. It's worth nothing the chronological order in which some of Lynch's movies arrive - and while one could speculate what Lynch was doing and how he was reacting to studio notes and whatnot.Īnd obviously more after that. So both college kids and European film festival goers got behind this one.
I should also mention, Wild at Heart won the Palm d'Or at Cannes the year of its release.
I'm not sure, exactly, when David Lynch's name became a household word, his films universally known, but I kinda feel it was right around this period of Twin Peaks and Wild at Heart, and it may have been the general accessibility in a market that was totally onboard with a hard-R rating at the time, that settled audiences on "yeah, that dude is all right." Instead it leaned into where Lynch was headed with his other films, grounded in a crime-book road movie.Īs non-standard-issue of a movie as it may have been for the era (the same era that was giving us Doc Hollywood and The Hard Way), it's also practically a CBS movie-of-the-week in comparison to, say, Eraserhead. It had mostly a different cast (and one day I'll try to parse what Sheryl Lee and Sherilyn Fenn mean to Lynch), no quirky cops. No magical mysteries with owls and whatnot. I didn't see the movie in theaters, but I rented the movie almost immediately when it showed up at the local videorama to try to get a bit more of whatever I was getting out of Twin Peaks. Wild at Heart (1990) was the David Lynch movie that arrived in conjunction with Twin Peaks fervor.
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