Top 5 David Lynch Scenes | Archive

16:10Adam Kempenaar:I love that scene. An honorable mention for me, for sure. My number four is the perfect chaser to the harsh shot that was Bobby Peru at number five. It's from Lynch's most sentimental and yes, his straightest story, the straight story based on the real life tale of Alvin Strait, who rode his John Deere tractor from Iowa to Wisconsin, something like 240 miles to see his estranged brother, who I think had just suffered a stroke and knew that he may not have many more opportunities to see him. and that was the only way he could go. No longer having a driver's license got on that tractor. This scene is the one between Richard Farnsworth and Wiley Harker.

16:49Adam Kempenaar:They go down to one of the local watering holes and Alvin says, I don't drink anymore, but I always like a change of scenery. He's just going to go to talk to the man. They sit at the bar and as the other man takes a swig from, I believe it's a Miller Lite, Farnsworth explains how he couldn't drink enough when he got back from the war and eventually got sober and the other man says, a lot of men came back drinking hard and that's all he really wants to divulge. And then Alvin says, everybody's trying to forget, I can see it in a man right away. And there's this silence and Wiley Harker just turns and looks at him quickly when he says, I can see it in a man right away and then quickly looks back at his drink.

17:30Adam Kempenaar:And he takes that in for a second. He knows that it's sort of an indictment, a tacit indictment of him. And what he recognizes is that in that moment when he's saying, I can see it in a man, well, Alvin can probably see it in him, that he's one of those people. And rather than hide it, he's actually going to open up to him. And he does. The floodgates open. He recounts a story, a horrific story from his time in the war. There was one time when we just were waiting for the first warm meal in 10 days. we thought we'd seen the worst. We hadn't had much trouble from the air. I was on a rise. There was a quartermaster working on more coffee for me and my buddies.

18:27Adam Kempenaar:A stray folk-a-wolf came over the treetops and dropped an incendiary in the mess tent. all my buddies.

18:41Adam Kempenaar:The crowd then banked right in front of me on that hill. And I didn't see the

18:49Josh Larsen:swastika.

18:53Adam Kempenaar:What I love about this scene, not only the performances and just the emotion of it, but there's really no suggestion that the Harker character has a drinking problem or that Alvin is proselytizing to him, trying to get him to change in some way. There's just an inherent openness and honesty and vulnerability to that Alvin character. And he wants to let others in and he wants others to have that same kind of openness. I also think it is obviously one of the themes of that movie, reckoning with the past and finding a way to move on from it. You have to be able to do that. And we see Alvin do that finally with his brother in another great scene, the closing scene with Harry Dean Stanton.

19:26Adam Kempenaar:I'm glad you found a place for the straight story

19:29Josh Larsen:because I know it got a lot of attention when it came out, but now I feel like it's sort of seen as this diversion, Lynch did, when I think it really is one of his best films. My number three comes from a film you already mentioned, Wild at Heart, and it's The Desert Dance Party. I think Wild at Heart came out in 1991. It doesn't really get as much love among Lynch fans. Some actively dislike it, but I've always appreciated it for its use of music and its Nicolas Cage-iness. Oh, yeah. I mean, such great stuff. He's really in his prime here as Sailor. This is partly a road movie, and the scene I'm thinking of does take place on the road.

20:06Josh Larsen:Sailor's sleeping in the back seat of the convertible, and Lula's trying to find something on the radio. I don't want to get out of that hospital. I don't want to listen to this crowd.

20:15Adam Kempenaar:For her recent divorce, shot and killed her three children aged 17. Shot right between a heinous... A local judge praised defendant John Roy, but was dismayed to learn that Roy had had sex with the corpse. What?

20:30Josh Larsen:Every station she tunes into has some horrible, horrible news report going on. It's terrible and quite comic. It's about corpses. It's about gunshot wounds, deviant sex. Not coincidentally, the sort of things that make up your average David Lynch movie. Good point. And she can't take it. She pulls over, wakes Sailor up and demands he finds some music this instant. So he tunes in to some sort of death metal, it sounds like. They both let out these primal screams and start kickboxing slash dancing like maniacs. I love Cage's touch, how he does the head flip out of the convertible. Right. You know, he just woke up five seconds later, but he's there.

21:07Josh Larsen:He's into it.

21:14Josh Larsen:I think this scene is something of a retort to the sort of purient material that Lynch's films often indulge in. Yeah. In a way, in this movie, Sailor and Lula are trying to flee from that awful world, and they frequently escape through music. The camera work here also supports this idea of setting them apart from so many of Lynch's characters. When Lula pulls over, he cuts to a full shot of the car, but then a crane gradually lifts above them. And then by the time they embrace at the end of their dancing, we've pulled back high enough and far enough that the sunset starts to seep into the top of the frame.

21:48Josh Larsen:It's kind of a classic Hollywood moment. Very classic. There's a real majesty to it. Even the death metal gives way to this classic Hollywood soundtrack music. So I think that for all the disturbing elements in his films, I get the sense, at least here, that he also believes in moments like this just a little bit.

22:04Adam Kempenaar:Yeah, without a doubt. And I think that that whole conflict between light and dark, that scene really captures it most directly in Wild at Heart. But it does run throughout his films. We'll get to a little bit more of it here in a couple of picks. My number three is from Mulholland Drive, and I should point out that I forced myself not to have any overlap. Just with so many films I do enjoy and so many great scenes, I figured, come on, you can come up with five where you're not picking from the same movie. Otherwise, I may have had three or four from Mulholland Drive because I just do love that film so much.

22:34Adam Kempenaar:The one I'm going with at number three here is Betty's audition scene, Naomi Watts with Chad Everett. And this is something you brought up a couple of weeks ago in talking about the new movie, The Congress, with Robin Wright, how there's a scene where she has to perform. Yes. She has to act, right? And I haven't seen it, but you felt like she didn't really completely pull it off. This is that scene. It is. This is Mulholland's Drive and Watts nails it. I think she does. And I'll also point to another acting scene in a movie I love, Get Shorty, the scene where John Travolta is teaching this great actor, Danny DeVito's character, how to act properly.

23:10Adam Kempenaar:He's telling him, look at me, right? DeVito in that scene, it's a tightrope because he has to act really badly. And he then has to turn and act really well. And both acting badly and acting really well on screen requires good acting. And so I always pay attention when that scene comes on to see how DeVito navigates that. And he always nails it. But it's tough. It draws the viewer's attention to the fact that this is a construct, that we are watching a performance here, a performance within a performance. So they really have to deliver if the whole point of the scene is that something magical is happening, that they've tapped into something, that they've connected in some way.

23:50Adam Kempenaar:And we certainly get that with what Naomi Watts and Shada Everett do. This is where we see the Betty character do a scene. We've already heard her rehearse with Rita in their little bungalow or whatever. And it's horrible. It's completely melodramatic. She plays it exactly as it seems to be written. and it really sounds like terrible TV soap opera acting. So you have no faith that when she actually gets into that room that something is going to happen and she's going to get to the heart of the scene. But she doesn't play it as melodrama in that moment. She hits it as drama. She plays it not as a victim.

24:24Adam Kempenaar:A little bit of a very sly spoiler alert here. The victim I think she sees herself as in real life, but she's the person controlling the scene. She dictates the action. She dictates the sexuality. She dictates all the tension.

25:05Adam Kempenaar:He trusts you. You're his best friend. It's not just good acting, Josh. I think it's almost as if that Betty character has been taken over by one of those sinister forces that David Lynch likes to play with and suggests to us that they're out there. They're especially out there in Hollywood. She becomes a different person entirely in that scene. And then I love how she just snaps back out of it at the end, back to Betty, as if it has been almost a spell she's been under. And that transformation that we see her undergo there suggests that maybe she's just as dark, if not darker and more mysterious than Rita, who has been the mystery girl up to this point.

25:45Adam Kempenaar:It's a great scene. I know you really like it too, Josh, because you've been begging for us to do it in Massacre Theater for a long time. And I'm just not comfortable enough yet to go there. Maybe someday.

25:56Josh Larsen:That's your young woman. That's the young woman you've been practicing for. Naomi Watts and Mulholland Drive.

26:01Adam Kempenaar:Mulholland Drive, though, that whole movie is such a rich deconstruction of the Hollywood myth, a myth that keeps young Bettys coming fresh off the bus or fresh off the plane to Hollywood to this day. And that scene is really a key cog in that myth deconstruction.

26:15Josh Larsen:I'm glad you mentioned Chad Everett, too, who's her co-star in the scene in a couple of senses, because he's really good as well. When you think about what he has to do, he has to be this kind of generic, stiff soap opera actor who gets caught off guard during the audition.

26:29Adam Kempenaar:And yet he stays in the scene with her. There's no reason to believe that at the beginning he's going to be able to run with her. Right. Because he's just as cheesy and melodramatic as Betty was previously.

26:37Josh Larsen:But then he does and it becomes something really special.

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28:20Josh Larsen:I think for me to be any good or for any character, to be any good. You've got to put enough of yourself and your empathy for people in it. I'm a people watcher. You see that guy going down the street and go, yeah, I can use that. Open Igloo co-founder Alia Mohammed.

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30:16Josh Larsen:so you were talking about light and dark my number two comes from maybe his filmography's darkest place it feels like that to me it's blue velvet and tons of suggestions came in when we asked for nominations for this lynch scenes top five suggestions for dennis hopper's frank booth he's such a crazed terrifying force in this 1986 bizarro noir people had all different scenes they wanted to see. He's the deranged criminal who has kidnapped nightclub singer Dorothy Valens, played by Isabella Rossellini. And Kyle MacLachlan plays the all-American kid who gets sucked into his world. The scene that I'm thinking of, I considered a number of them.

30:56Josh Larsen:His early attack on Rossellini, which MacLachlan witnesses while hiding in the closet. There's his profane defense of Pabst Blue Ribbon over Heineken, another example of Lynch humor. But I went with a car ride where Booth takes McLaughlin, Rossellini, and a couple of henchmen along, and he and McLaughlin have this confrontation there.

31:17Adam Kempenaar:What are you looking at? Nothing? Don't you look at me! I shoot when I see the white city eyes.

31:41you're like me.

31:43Josh Larsen:Blue Velvet, when it came out, received some criticism, famously from Roger Ebert and others, for its use of violence, especially that directed toward Rossellini. But I think this scene is revealing about the purpose of the Booth character. He pulls over the car and he demands of McLaughlin, who's in the backseat, what are you looking at? And this also gets into one of the things I love about Blue Velvet is the idea of voyeurism and the rear window element going on here and the implicating of us in the audience. Then after asking McLaughlin that question and after taking one of his really elaborate drags on the gas mask that Hopper just pulls out so beautifully, he blatantly states, you're like me.

32:22Josh Larsen:And, you know, this really gets at the heart of Blue Velvet. Because he's hurting her and Jeffrey doesn't look away, right? He's watching. He's the watcher. And he's us, right, in that scene. And I think that much of this movie is trying to bridge that gap between this clean-cut kid and this criminal. I mean, if Blue Velvet is partly about the seedy underbelly of supposedly squeaky clean suburbs, we have the famous opening shot that goes under the lawn to reveal the bugs, then this is suggesting, you know, we all, too, are corrupted underneath. Not just Frank, the guy who flaunts his corrupted nature, but McLaughlin's good kid, too.

32:58Josh Larsen:I mean, I'd almost say that the scene is too on the nose with dialogue like that, except that right after this moment we get Frank smearing lipstick on his face, lip-syncing words to Roy Orbison's In Dreams and threatening McLaughlin with a knife, and all this while a prostitute is doing a slow dance on the roof of the car. So it's on the nose, maybe, but it has a distinctly Lynchian flair.

33:20Adam Kempenaar:Yeah, on the nose for Lynch. Exactly. Which you do have to make that distinction. Obviously a great scene, and you're right, any scene with Frank Booth from Blue Velvet probably should have been considered for this list. My number two comes from a movie you've previously mentioned. It is The Elephant Man, And I love this film, so this was hard, but there is one scene for me that emerges as my favorite. And it's certainly the most emotional. It's one of the scenes, maybe in all of cinema, that slays me the most. I did truly, and I'm not one of these people who gets highly emotional watching movies, but just re-watching this scene today for this list, it got a little dusty at the computer taking a look at it.

33:58Adam Kempenaar:And it's the scene between John Merrick, the Elephant Man, and Treves, Anthony Hopkins, and Treve's wife on his visit. Oh, that's such a good scene. Yeah, his visit to their house. And I love how he asks where their children are, and she gives this furtive glance because she's a little embarrassed and feels shame. And Treve says, oh, they're playing with friends. Not quite ready to show them John Merrick just yet, but he meets Treve's wife, played so wonderfully by Hannah Gordon. They're looking at the photos of their kids, then Treve's mom, and that prompts Merrick to show them a picture of his mother.

34:34Adam Kempenaar:Mr Merrick, she's beautiful. Oh, she had... She had the face of an angel.

34:44I must...

34:49Adam Kempenaar:...been a great disappointment to her. No, Mr Merrick, no. No... No son as loving as you could ever be a disappointment. If only I could find her, if she could see me, because she's lovely friends, if you're not, perhaps she could love me as I am. I tried so hard to be cooked.

35:23Adam Kempenaar:Here is a man born horribly disfigured, had no choice in the matter. That's just the way he was made. Against his will, forced into performing as a freak, treated unspeakably badly. He's truly a victim, but he feels guilty of letting his mother down, as if he did something wrong to force her away. And that line, I've tried so hard to be good. The sad kind of optimism in that, his notion that if he was just a little bit better of a person, Maybe people wouldn't be so scared of him. Maybe his mom would be proud to see him. And he says it, that's emotion enough. And then watching Hannah Gordon lose it in that scene, that's where then the floodgates open.

36:09Adam Kempenaar:And like I said, that scene just annihilates me. And it's not a flashy scene, but it doesn't need to be.

36:16Josh Larsen:No, and she's so good because normally you don't need or necessarily want the other character in the scene to be showing the emotions you should be feeling. because that piles it on. But for some reason, it's so genuine. It is so genuine, her response. And I think it's also tied into what you talked about, the fact that the kids aren't there. Like all of a sudden she's realizing this is someone the kids should know because he's such a fundamentally decent human being. And her kind of complicated feelings with what her husband's doing with him, the husband's complicated feelings, it's all tied up into her response there.

36:50Adam Kempenaar:It is. And it's another movie, The Elephant Man, like Eraserhead, But obviously shot in black and white, though, not quite the high contrast that you get in the 1977 film. It's another movie that captures the terrible depravity and the darkness in humanity. But you also get in this film what makes it palatable. And I don't mean that in any kind of condescending way. It's a good thing because we see a lot of horror. We get the dignity and we get light. I really think the worst and the best of humanity are on display in The Elephant Man.

37:19Josh Larsen:That scene also, I think, points to the straight story in a lot of ways because it's a very straight scene, right? It's completely on the surface, take it for what it's worth, and it works really well as much of the straight story does. All right, we're down to our number one scenes, and I saved that slot for one from my favorite Lynch film. It's Eraserhead, The Chicken Dinner. This occurs early on after Jack Nance's Henry Spencer has been invited for dinner at the house of his girlfriend's parents. And they're serving these tiny baked birds. I don't know if they're chickens or quail or something oddly in between.

37:55Adam Kempenaar:Can I just say that you're scaring me right now?

37:57Josh Larsen:I know. This is your number one. You're really scaring me. Oh, because I chose that? Yeah. Hey, confront your fears, Adam. I guess. Mary X's father asks Henry if he'd carve them. And here's the kicker. Why? Because the father's afraid to. Okay? Not being polite, but yeah. Where's this going to go? So as soon as he touches the carcass with a fork, the legs start moving. This thick, dark goo spills out. I think we get it twice, a horrifying close-up of these bubbles. And it's almost like something from early Bunuel. It's so jarring and off-putting, and you're trying to make sense of it. And it foreshadows something similar we're going to see later.

38:35Josh Larsen:It does. And this is just another hint that, you know, the movies we talked about a little bit is more about this fear of fatherhood or domesticity. It's fundamentally this exploration of social anxiety using such jarring images. And I count this one as one of the most jarring images in the film, at least it is for me. We also talked about the comedy in our review and so many funny touches here. here. I mean, the fact that the bird's so tiny and the knife he's handed is so enormous, ridiculously huge. We have Jack Nance's dazed expression that we've discussed. Even he keeps it. I don't know how he managed to do this.

39:14Josh Larsen:After Mary X's mother starts like clucking her tongue, she's excited at first and then it turns into this seizure. Yeah, like she's having a seizure. And she and the daughter have to get up and leave the room. And he just sits there with the father in Bewilderment. He really is, like I said, the straight man to this absurdist comedy, plays the part perfectly and makes this scene work.

39:35Adam Kempenaar:Well, I'm not sure I can top the chicken dinner from Eraserhead, but I'm going to go for my number one with a movie you had at number two, cue up the Bobby Venton. She wore blue velvet Bluer than velvet was the night Blue velvet and as many good options as there are, for me, it's all about the opening scene. Those blue velvet curtains, the credits, we go from that to the song. That beautiful blue sky, roses in front of a white picket fence, red, white, and blue, very American there, right in the shot, of course. The Lumberton firemen go by, they wave to us, which I love that Lynchian touch of them waving to the camera there.

40:22Adam Kempenaar:That's how corny. We're four years. It is, yeah, and we are. More flowers, yellow flowers, and a fence. Kids at a crosswalk. Then we get a house with one of those white picket fences and an old man watering his lawn. His wife inside watching a detective mystery on TV because, of course, it's only on TV that people like that would see something so nefarious happening. They have to see it from the comfort of their living room. Back to the old man. There's a snag in the hose. He clutches himself, has some kind of heart attack, and he falls to the ground. And the hose begins spraying wildly. A dog barks and drinks from the hose.

40:55Adam Kempenaar:The hose up, I will note, in a very phallic fashion. Cut to a close-up of the dog's mouth. Slow motion now, biting at the water. And this idyllic setting, for a minute, has become much darker and sadder and violent. We continue to hear the sound of the water. The camera glides along and goes down into the grass to reveal a severed ear teeming with insects. The whole movie that follows, of course, is the story behind how that ear got there. And I think that two minute sequence sets up that light and dark battle that underscores the whole movie and much of Lynch's work. Why are there people like Frank?

41:31Adam Kempenaar:That's the question Jeffrey has to ask at one point and has no answer. There always have been and always will be people like Frank. And it took their discovery of this ear to have their eyes open to it, to want to actually look into it and investigate it. They got the look under the surface that Lynch shows us in the beginning. And it's ugly and disturbing. It's a little bit, maybe, Josh, looking back on it now almost 30 years later, to use your phrase, talking about another scene from Blue Velvet, a little bit too on the nose. It seems maybe a little too ironically quaint in the way that Lynch presents scenes sometimes.

42:06Adam Kempenaar:But I just go back to seeing it for the first time after the movie came out around 90 or 91 when I was 17 or 18 years old. And it was a game changer for me. I've said it on the show many times. It was absurd and weird and poetic in a way that at that point I hadn't seen from cinema. So with a little bit of a nostalgic nod to it, but I still think the scene holds up. Absolutely. That sequence, the opening sequence from Blue Velvet's my number one.

42:31Josh Larsen:Yeah. I mean, you're looking at it in retrospect and it was a shockwave. It wasn't obvious at all. to have a movie open this way, deeply subversive, not only within its own story, but within what we were getting in 1986. I mean, it had been the high point of the studio production factory phase. We've had many of those phases, let's be honest. But in 86, we were at one of the high points. And here you have something that turns that on its head and is eager to make its audiences uncomfortable.

43:02Adam Kempenaar:Yeah, make them squirm a little bit. And you're certainly right that since then, And we've seen so many movies give us the darkness beneath the surface of suburbia. But I don't know that we've ever seen it quite like Lynch. And I don't know that we had it in our face that way before 1986 and Blue Velvet. Those are our top five David Lynch scenes. What about any honorable mentions for you, Josh?

43:22Josh Larsen:Well, this just shows how rich of a field it was because I don't think any of these that I have here have come up. The brothers sitting together on the porch at the end of the straight story. I think you referred to it. Didn't pick it. But Melissa Taminga from the Filmsbody Advisory Board suggested that one. I would definitely agree with the monster behind the diner in Mulholland Drive. Another Mulholland Drive scene that we referenced at the start of the show, the cowboy. And then an iconic scene from the Elephant Man would be the I'm not an animal. Yeah. Which he shouts out tellingly while falling down beneath the mob amidst urinals.

43:58Adam Kempenaar:Really powerful moment. It is, and a great place to start for my honorable mentions. I had I Am a Human Being, and also the one I referenced during our Eraserhead review, This Is My Home, that sequence with Treves and John Gielgud. From Blue Velvet, the candy-colored clown, Joy Ride with Frank that you had, Josh, and Baby Wants Blue Velvet, another one you did mention there, that opening, just horrifying sequence where we see through Jeffrey Beaumont's eyes what is happening between Isabella Rossellini and Dennis Hopper. Wild at Heart, the Don't Turn Away From Love ending I like a lot. And also a scene I mentioned a while back in our top five dance scenes that are not in dance movies.

44:35Adam Kempenaar:That first dance scene to the heavy metal with Lula and Sailor. And then he stops to defend his girl's honor. And I love how he throws his cigarette down on the ground. And then he takes the guy and puts him down on the ground. And his hand, of course, hits right in the spot where the cigarette is as if he had it planned there all along. Mulholland Drive, I love the whole club silencio sequence in Yorando. that you mentioned. And this is the girl, every little star scene, that scene where the director has to pick the girl he doesn't want to pick, those unseen forces now seen, representing the unseen forces, making sure that he picks the right girl.

45:09Adam Kempenaar:But then he makes that connection as well visually with Naomi Watts as Betty. I've got a couple others we've already talked about. I'll close with Fire Walk With Me. I can't single out Twin Peaks, even though I adore it because it's television and not movies. I was wondering if you might break that rule. There are rules, Josh, but Fire Walk With Me, a certain someone, for those who haven't seen it, in Laura Palmer's room. Still a terrifying, terrifying moment for me. So a lot of honorable mentions, and I think we could go on and on, but we will close there. Send us your picks or any other comments about the show to feedback at filmspotting.net.

45:49Adam Kempenaar:Of course, you can access segments and shows like this anytime you would like. Josh, all you have to do is be a FilmSpotting family member, and you can learn more about that and the benefits by visiting FilmSpottingFamily.com. This conversation can serve no purpose anymore. Goodbye.

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