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.
