animatronic robin

Buscando algún ensayo sobre Blue velvet que contuviese elementos coincidentes con mi visión de la película, me encontré con este que sigue. Conforme lo leía me venían a la cabeza Breaking bad y El show de Truman. No es de extrañar, pues las tres comparten la querencia por el barniz y la trampa, aunque la de Lynch es la más bizarra y grotesca, como bien apunta el ensayista. Algunos extractos del asunto:

Martin Rickman

Pabst Blue Ribbon, Frank Booth, and Fake Robins:

An exploration into David Lynch’s Blue Velvet

Nowhere is this more evident than in Blue Velvet, where Lynch transforms a picturesque 50s-like town into a seething caricature filled with freaks and evil.

[...] the world becomes absurd and dream-like, where the line between reality and dream blurs. Lynch has said, “I like the idea that everything has a surface which hides much more underneath. Someone can look very well and have a whole bunch of diseases cooking: there are all sorts of dark twisted things lurking down there. I go down in that darkness and see what’s there,”.

He is primarily concerned with recognizing traditional cinematic structure and using parody and his own carnival mirrors to morph and stretch his characters.

Much like the cities in Invisible Cities (Calvino), Lumberton is all at once different cities and the same city, as Lynch compiles a composite picture of images and memories, nostalgic and kitsch, to create one singular, yet confusing image.

Like a good film-noir though, Jeffery gets lost in the underbelly and has trouble finding his way out. He begins to accept the evil that has always existed inside him and is frightened by his apparent transformation.

[…] But Lynch’s film presents a world that is not good or bad but rather is good and bad.

No events are safe in Lynch’s films and the boundary between dream and reality is constantly in question.