Blue Velvet

Blue Velvet ★★★★½

David Lynch is a director that has essentially built his career out of films that define the words “strange” and “bizarre.” And with this knowledge in my head, Blue Velvet nailed a lot of what I expected going into this man’s filmography. It’s not confusing—it’s reportedly one of his more straightforward works—but the ways in which he creates stories is absolutely riveting. A crime thriller drenched in differing shades of horror and surrealism, David Lynch’s Blue Velvet is utterly electrifying. 

It’s a mystery film in the purest sense, as this twisted, suspenseful, and wildly entertaining, if not always pleasant odyssey through typical suburbia and the less typical things that come with it is almost like a puzzle. One of which the full image is so tantalizing, yet kept away and unsolved. All the missing pieces just don’t fit in the grander puzzle. It’s not that they’re part of a different set, but they just refuse to go together. You see, Blue Velvet is straightforward, yes, but to call it simple would be extremely misleading. 

At the start of the film, we’re thrust into a pristine, almost too ordinary land. The grass is green. The roses are red. The sky is really blue. It’s nice because normalcy equals safety, even if it does look somewhat artificial. And then, everything is flipped on its head. It’s dangerous obviously, but it’s intriguing, no? If you’re like me, you’re like Jeffrey. And you can’t help but want to keep digging deeper and deeper into the mystery, into the darker side of the world. But what no one tells you is that there comes a point where the hole is too deep. You’ve dug too much, and at that point, it’s not a question of how to solve the puzzle, but how to throw it out as well.

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