Lynch's screenplay of Blue Velvet had been passed around multiple times in the late 1970s and early 1980s, with several major studios declining it due to its strong sexual and violent content. After the failure of his 1984 film Dune, Lynch made attempts at developing a more "personal story", somewhat characteristic of the surrealist style displayed in his first film Eraserhead (1977). The independent studio De Laurentiis Entertainment Group, owned at the time by Italian film producer Dino De Laurentiis, agreed to finance and produce the film.
The film cemented David Lynch's status as a visionary modern filmmaker and earned him his second Oscar nomination. The film achieved cult classic status, marked Dennis Hopper's return to the screen, and revitalized Isabella Rossellini's career as a dramatic actress, moving her beyond her work as a model and cosmetics spokesperson.
Initially, however, expectations were low; Lynch was still reeling from the failure of the epic fantasy "Dune" (which, incidentally, is currently being remade). Producer De Laurentiis was reluctant to finance another Lynch film, but after reading the script, he decided to give the director another chance, setting in motion the complex, labyrinthine production of this cult classic.
The film begins on a sweet, innocent note: elegant opening credits set against a blue velvet curtain, accompanied by the music of the great Angelo Badalamenti, followed by a shot of a blue sky and the first images—firefighters waving and a man suffering a seizure while watering his garden. The plot kicks off one morning when Jeffrey Beaumont—played by Kyle MacLachlan, one of Lynch's regular collaborators—makes a gruesome discovery after visiting his hospitalized father. He finds a human ear in the bushes and places it in a paper bag to take to the police station for analysis.
This sets off a chain of events revealing a series of bizarre occurrences in Lumberton, a rural North Carolina town—a setting that perhaps served as inspiration for Lynch's later work on the series "Twin Peaks". The film is brilliant; it blends elements of 1950s film noir, exploits the femme fatale archetype, presents a powerful and sinister villain, offers Lynch's twisted vision, and provides a voyeuristic perspective. The scene where Vallens is raped by Frank Booth is deeply disturbing—not to mention the wild, macabre joyride where Jeffrey is forcibly taken along by Frank. Just before that sequence, they perform "In Dreams"—an iconic Orbison track that found a new lease on life through the film.
Ultimately, the movie became so essential to the 1980s that it is a staple of any discussion regarding influential films of that era. Its strangeness is matched only by the curiosity of my first viewing experience: a Thursday night back in 1992 on broadcast television, completely uncensored—something that would be very hard to find today, especially given the lackluster state of broadcast TV now.
Blue Velvet initially received a divided critical response,with many stating that its explicit content served little artistic purpose. Nevertheless, the film earned Lynch his second nomination for the Academy Award for Best Director, and received the year's Best Film and Best Director prizes from the National Society of Film Critics. It came to achieve cult status. As an example of a director casting against the norm, it was credited for revitalizing Hopper's career and for providing Rossellini with a dramatic outlet beyond her previous work as a fashion model and a cosmetics spokeswoman.
In the years since, the film has been re-evaluated, and is widely regarded as one of Lynch's masterpieces. and is frequently cited as one of the greatest films of the 1980s. Publications including Sight and Sound, Time, Entertainment Weekly and BBC Magazine have ranked it among the greatest American films of all time. In 2008, it was chosen by the American Film Institute as one of the ten greatest American mystery films.












