로스트 하이웨이

2025.01.28.

로스트 하이웨이 (1997)

데이빗 린치

Lost Highway
134 mins
directed by David Lynch
written by David Lynch & Barry Gifford

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아 인랜드엠파이어 상영 어디서 안해주나

"It's like when you are sitting alone, you sometimes have the feeling that there are different parts of you," Lynch has said, explaining the state of mind summoned by his new film. "There are certain things that you can do, and there are certain things that you would never do unless there was a part of you that took over."

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“You can say that a lot of Lost Highway is internal," says Lynch. "It's Fred's story. It's not a dream: It's realistic, though according to Fred's logic. But I don't want to say too much. The reason is: I love mysteries. To fall into a mystery and its danger ... everything becomes so intense in those moments. When most mysteries are solved, I feel tremendously let down. So I want things to feel solved up to a point, but there's got to be a certain percentage left over to keep the dream going. It's like at the end of Chinatown: The guy says, 'Forget it, Jake, it's Chinatown.' You understand it, but you don't understand it, and it keeps that mystery alive. That's the most beautiful thing."

Barry Gifford, Lynch's co-writer on Lost Highway, is slightly more forthcoming. "Let's say you don't want to be yourself anymore," he says. "Something happens to you, and you just show up in Seattle, living under the name Joe Smith, with a whole different reality. It means that you're trying to escape something, and that's basically what Fred Madison does. He gets into a fugue state, which in this case means that he can't go anywhere - he's in a prison cell, so it's happening internally, within his own mind. But things don't work out any better in the fugue state than they do in real life. He can't control the woman any more than he could in real life. You might say this is an explanation for what happens. However, this is not a complete explanation for the film. Things happen in this film that are not - and should not be - easily explained."

Gifford is right: There's more to Lost Highway than its mysteries. There's also the movie's painterly photography, the tense and subtle performances by Bill Pullman and Patricia Arquette, and the bravura creepiness of Robert Blake's Mystery Man, plus a throbbing undercurrent of ambient sound by Nine Inch Nails' Trent Reznor during the video sequences. All these elements add up to making Lost Highway a film about the wonder of what film can be.

"For me," says Lynch, "a film exists somewhere before you do it. It's sitting in some abstract world, complete, and you're just listening to it talk to you, telling you the way it's supposed to be. But not until all the sound and music and editing has been done do you truly know what it is. Then it's finished. It feels right, the way it's supposed to be, or as right as it can. And when it's finished, you're back in a world where you don't control anything. You just do the best you can, then say farewell."

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