Saturday, April 4, 2020     Volume: 21, Issue: 5
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Santa Maria Sun / Film

This weeks review
1917
AD ASTRA
BINGABLE: ABANDONED (2016)
BINGABLE: DON’T F**K WITH CATS: HUNTING AN INTERNET KILLER (2019)
BINGEABLE: Barry
BINGEABLE: CASA DE LAS FLORES
BINGEABLE: FLEABAG
BINGEABLE: GRACE AND FRANKIE
BINGEABLE: NATIONAL GEOGRAPHIC DOCUMENTARIES
BINGEABLE: OUTLANDER (2014-present)
BINGEABLE: PRIDE AND PREJUDICE (1995)
BINGEABLE: RUSSIAN DOLL
BINGEABLE: STRANGER THINGS 3
BINGEABLE: THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY
BINGEABLE: THE SINNER (SEASON 2)
BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN)
BLAST FROM THE PAST: COOL RUNNINGS (1993)
BLAST FROM THE PAST: FISH TANK (2009)
BLAST FROM THE PAST: HOUSE
BLAST FROM THE PAST: OLDBOY
BLAST FROM THE PAST: RAIDERS OF THE LOST ARK
BLAST FROM THE PAST: ROBOCOP
BLAST FROM THE PAST: THE MATRIX
BLAST FROM THE PAST: THE PRESTIGE (2006)
BLAST FROM THE PAST: WILD AT HEART
BLAST FROM THE PAST: YOU’VE GOT MAIL
BLOODSHOT
DOCTOR SLEEP
EMMA
FORD V FERRARI
GUILTY PLEASURE: THE HANGOVER
GUILTY PLEASURES: CHEER (2020)
GUILTY PLEASURES: GIRL MEETS WORLD (2014-2017)
HATEWATCH: 92ND ACADEMY AWARDS (2020)
HATEWATCH: NAILED IT!
HATEWATCH: THE WITCHER (2019)
HEARST CASTLE: BUILDING THE DREAM
I STILL BELIEVE
JOJO RABBIT
JOKER
KNIVES OUT
LITTLE WOMEN
MOTHERLESS BROOKLYN
ONCE UPON A TIME … IN HOLLYWOOD
ONWARD
THE ART OF RACING IN THE RAIN
THE BIGGEST LITTLE FARM
THE CALL OF THE WILD
THE GENTLEMEN
THE HUNT
THE INVISIBLE MAN
THE LIGHTHOUSE
THE PEANUT BUTTER FALCON
THE WAY BACK
TV REVIEW:
TV REVIEW: LITTLE FIRES EVERYWHERE
TV REVIEW: SELF MADE: INSPIRED BY THE LIFE OF MADAM C.J. WALKER
TV REVIEW: TABOO
TV REVIEW: WESTWORLD (Season 3 debut)
UNCUT GEMS
UNDERRATED: BATMAN BEGINS
UNDERRATED: DOUBLE DRAGON (1994)
UNDERRATED: INSOMNIA
UNDERRATED: SHUTTER ISLAND
UNDERRATED: THE BATTERED BASTARDS OF BASEBALL
UNDERRATED: THE FALLING
YESTERDAY
ZOMBIELAND: DOUBLE TAP

BLAST FROM THE PAST: WILD AT HEART

PHOTO BY COURTESY OF POLYGRAM FILMED ENTERTAINMENT

BLAST FROM THE PAST: WILD AT HEART


Where is it playing?: Amazon, Tubi

What's it rated?: R

User Rating: 0.00 (0 Votes)

Today’s Yellow Brick Road Leads Straight to Hell.” That’s the headline of a Caryn James review of Wild at Heart that appeared in a 1990 edition of The New York Times, and she’s not wrong.

The bleak reality of a once-romanticized form of travel is a clear thread throughout David Lynch’s twisted ode to The Wizard of Oz (1939) and other road movies of a bygone era, where the yellow brick road is rundown and lonely, Emerald City is a tiny town in Texas, the flying monkeys are hired killers, and Dorothy is a 20-something rebel on the run with a bad-boy parolee.

At its core, Wild at Heart is a formulaic, star-crossed lovers romance. It’s Bonnie and Clyde (1967)—but in this film, Bonnie appears as Lula (Laura Dern), a young woman desperate to get out from under the roof of her overbearing mother, and Clyde as Sailor (Nick Cage), a recently released convict.

Despite her mother’s orders, Lula immediately runs off to California with Sailor once his time in prison is up, a sex-capade that leads them down winding highways and to seedy motels in New Orleans and Big Tuna, Texas. But Lula isn’t initially aware of the real reasons behind her mother’s disdain for Sailor. The couple’s trip is quickly spoiled by private investigators that Lula’s mother hired to track and kill Sailor.

The more her mother tries to stop it, the more Lula and Sailor double down on their love for each other, their fiery passion fed to some degree by the forces trying to keep them apart.

It’s a classic love story, but woven in are Lynchian characters, settings, and dialogue, and for some reason a lot of references to The Wizard of Oz, giving Wild at Heart an unsettlingly surreal yet comedic effect that only David Lynch can really create.

As in all things Lynch, the characters in Wild at Heart are each eccentrics in their own right. An overdone Southern accent paired with an affinity for Elvis Presley, all wrapped up in a snakeskin jacket that symbolizes his “individuality and belief in personal freedom,” work together to bring us Sailor. Lula has her own zany qualities, too—not the least of which is a tendency to get hysterical, and her propensity to extinguish the hysteria by breaking out suddenly in dance.

The downside to many of Lynch’s works is that the chaos created by his vivid characters and his totally unique way of storytelling often cloud the plot itself. But compared to Twin Peaks (1990-1992) and Blue Velvet (1986), Wild at Heart is a breeze to follow, and quite a bit less disturbing.

It’s lighthearted and quirky, and best of all, it offers a rare glimpse into the softer side of Lynch.

—Kasey Bubnash 








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