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Lost Highway [VHS] av Bill Pullman

Lost Highway [VHS] (utgåvan 1998)

av Bill Pullman (Actor)

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
1403152,433 (4.03)5
A screenplay which provides an investigation into parallel identity crises. A dazed and confused Pete Dayton is found in the cell of Fred Madison, a prisoner awaiting execution for murder. Dayton has no recollection of how he got there, and Madison is missing.
Titel:Lost Highway [VHS]
Författare:Bill Pullman (Actor)
Info:USA (1998)
Samlingar:Ditt bibliotek


Lost Highway [1997 film] av David Lynch (Director)


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» Se även 5 omnämnanden

ryska (1)  engelska (1)  italienska (1)  Alla språk (3)
Visar 3 av 3
(Lost Highway, Usa/Francia 1996, col 134') David Lynch. Con Bill Pullman, Patricia Arquette, Balthazar Getty, Robert Loggia, Robert Blake, Natasha Gregson Wagner, Lisa Boyle, Gary Busey, Richard Pryor, Jack Nance, Henry Rollins, Giovanni Ribisi, Marilyn Manson. * Il sassofonista Fred Madison (Pullman), perseguito da un individuo misterioso (Blake), si ritrova accusato dell'omicidio della propria moglie (Arquette). Ma in carcere si trasforma in un'altra persona (o ne viene sostituito?) il giovane meccanico Pete Dayton (Getty) che liberato inizia una relazione a rischio con la pupa (Arquette) del pericoloso Mr. Eddy (Loggia). Con un occhio alla donna che visse due volte Lynch e il cosceneggiatore Barry Gifford smontano i meccanismi del noir, costruendo un racconto che sfida ogni interpretazione razionale, puntando tutto su un'atmosfera onirica e inquietante, piena di paradossi spazio-temporali. ( )
  videotecadsu | Feb 16, 2016 |
Someone remind me why I’d want to read the shooting script of a film I have seen more times than any other film. Why? I saw it on the shelf next to another book and grabbed it on a whim. I finished but the law of diminishing returns was definitely in effect.

Takeaways / Fissures:

I remember there was some buzz around the publication of this script because of a revealing (at least by Lynch standards) interview with David Lynch serving as front matter. At the time, everyone just wanted to know “what the f**k happened?!” Well, the interview and script don’t explicate the plot much more than the final film, but there is definitely an implication in the descriptive passages that Fred and Pete are the same person. Though how / why this can be, the time loop, and the doubling of Renee / Alice are never explained. What Lynch didn’t shoot makes sense but the film still suffers from the pacing issues typical of his work. You love it or you hate it. The one element Lynch did add that was not present in the script is the backwards exploding cabin. An image that, in an oeuvre of unforgettable images, is unforgettable and thematically relevant to the narrative.

Years ago, I watched a grainy VHS copy of this film over and over again in a darkened basement room on a 13” CRT television. Then I saw it in a theatre with a proper sound system. I knew then, God loved me.. I think this is the sort of revelation people were expecting from the script.

After a period of voracious cinephilia in my teens, I let the pedal off the gas a bit and was pleasantly surprised by the whimsy of Big Fish. The next film I saw was Mulholland Drive. I realized Big Fish (which in my head was floating around in the “an example of what a good studio movie could be” pond) was nothing but a capitalist pop tart made by a lazy, cowardly child -- a coloring book for idiots filled with saccharine clichés. Every instance of Mulholland Drive was an intentional gesture, every word of dialogue a pregnant shroom, equal parts fascination and annoyance, horror and wonderment. All this from a film that was basically a more user friendly rehash of Lost Highway.* Mulholland Drive helped me remember what cinema could be. Lost Highway tought me that lesson in the first place.

All this praise for a Mr. D. Lynch who is basically a teenage pervert caught in his own power fantasy loop. A “great artist” who can’t even end his own self-destructive, persona-defining addictions to caffeine, nicotine, and voyeuristically debasing women on camera while spouting a spiritual get-out-of-jail-free card made available by a pay-for-play guru. He seems kind of stuck. He makes the same movie and over. His only creative growth being forced upon him by external, objective technological shifts; namely, analog to digital. And while this fatuous pervert eats his own aesthetic poop, his inversion directly proportional to his influence, we forget that Lost Highway was co-written by novelist, poet, and cultural historian Barry Gifford.

Poet Barry Gifford co-wrote Lost Highway.

I realize now the reason I didn’t first understand Lost Highway was because I was completely ignorant of its theme of male sexual insecurity. The first act of the movie, all those scenes between Fred and Renee, those were blank to me. I watched this movie over and over trying to figure out the stupid, obvious body switch parlour trick, and never understood that it was about Fred being jealous of Renee. How could I be so ignorant? How could I understand so little about (other peoples’) sexuality? How could I understand so little about (other) men? Now, I realize I am just not a jealous person. What my partners do with their bodies is their business. God bless America. But then, then I was just ignorant. It was like watching Casablanca and not knowing Rick and Ilsa are supposed to get together. It just didn’t make sense.

I realize now.


*They are same movie except one features a lesbian relationship and the other a straight one. “The other a straight one” is great phrase. The fake tit lesbian relationship gone haywire in MD is actually far more palatable to patriarchy than the straight jazz cat wife mutilation in LH because in MD the women are crazy or pretending to be a lesbians until a man high in the symbolic order comes along; while in LH the actual consequences of domestic violence, gun fetishization and pornography production are full frontal. In short, men come off looking real bad in LH; therefore, it is not tolerable. ( )
  librarianbryan | Apr 23, 2013 |
Саксофонист Фред Мэдисон обвинен в убийстве своей жены Ренэ и приговорен к высшей мере наказания. Незадолго до исполнения приговора он таинственным образом исчезает из камеры смертников, а на его месте находят растерянного и ничего не понимающего авто-механика Пита Дейтона. Как он оказался в камере? Куда исчез убийца? Выпущенный на свободу, Пит пытается вернуться к повседневной нормальной жизни, но вместо нее его ждет необъяснимый, поражающий воображение кошмар...
В своем блестящем фильме великий мастер Дэвид Линч приготовил нам потрясающую смесь мистического триллера и напряженного детектива. Закрученный сюжет, великолепная операторская работа и изысканная музыка Анджело Бадаламенти прекрасно дополняют режиссуру мастера.
В ролях: Билл Пуллман, Патриция Аркетт, Бальтазар Гетти, Роберт Блейк, Наташа Грегсон Вагнер, Ричард Прайор, Люси Батлер, Майкл Масси, Джек Нэнс, Джек Келер
  Fong | Dec 18, 2009 |
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» Lägg till fler författare (8 möjliga)

Författarens namnRollTyp av författareVerk?Status
Lynch, DavidDirectorprimär författarealla utgåvorbekräftat
Arquette, PatriciaActormedförfattarealla utgåvorbekräftat
Blake, RobertActormedförfattarealla utgåvorbekräftat
Deming, PeterCinematographermedförfattarealla utgåvorbekräftat
Getty, BalthazarActormedförfattarealla utgåvorbekräftat
Loggia, RobertActormedförfattarealla utgåvorbekräftat
Pullman, BillActormedförfattarealla utgåvorbekräftat
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A screenplay which provides an investigation into parallel identity crises. A dazed and confused Pete Dayton is found in the cell of Fred Madison, a prisoner awaiting execution for murder. Dayton has no recollection of how he got there, and Madison is missing.

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