18/01/2025
By Stephen Galloway at The Hollywood Reporter: With such hallucinogenic masterworks as 'Eraserhead,' 'Blue Velvet,' 'Mulholland Drive,' 'Twin Peaks' and 'The Elephant Man,' he often left more questions than answers.
David Lynch, the writer-director whose films and TV series including Blue Velvet, Mulholland Drive and Twin Peaks portrayed a seemingly bucolic America, only to reveal it as teeming with the mysterious and macabre, has died. He was 78.
Lynch’s death was announced on his page:
“It is with deep regret that we, his family, announce the passing of the man and the artist, David Lynch. We would appreciate some privacy at this time. There’s a big hole in the world now that he’s no longer with us. But, as he would say, ‘Keep your eye on the donut and not on the hole.’ … It’s a beautiful day with golden sunshine and blue skies all the way.”
In August, he revealed that he was suffering from emphysema after many years of smoking and that he couldn’t leave home for fear that he would get COVID-19.
Nobody who saw Lynch’s works could mistake them for anyone else’s. Unlike other leading auteurs, he didn’t belong to a movement or fit easily into a genre; while his pictures echoed the mindset of a Luis Buñuel or a Salvador Dalí — critic Pauline Kael called him “the first populist surrealist” — and were influenced by such film noir landmarks as Billy Wilder’s Sunset Blvd., they were sui generis; his creations, in fact, appeared timeless, strangely disconnected from any particular era or place, which made them all the more startling and disturbing.
These were horror stories that mixed the monstrous with the mundane, that emerged from a landscape of dreams or nightmares, their happy endings doing nothing to erase the discomfort they left behind. They were as perplexing as any drawing of M.C. Escher, as haunting as any Grimms fairy tale, only far harder to decipher — which sometimes led skeptics to wonder whether even Lynch had the key to unlocking them. Few doubted the power of his vision and imagination, though naysayers questioned his logical thread.
While the filmmaker could occasionally descend into self-parody, critics’ groups included his major pictures on lists of the most important movies of the past century. In a 2012 poll of nearly 900 experts, Sight & Sound magazine ranked Mulholland Drive (2001) at No. 28 and Blue Velvet (1986) at No. 69.
There was, however, a notable discrepancy between Lynch’s international standing and his domestic reputation: none of his films is featured in the American Film Institute’s most recent ranking of the 100 greatest movies, published in 2007. Nor was the Academy always supportive: nominated for four Oscars (as director for Blue Velvet, Mulholland Drive and 1980’s The Elephant Man, which also garnered him an adapted screenplay nom), Lynch was finally accorded an honorary Academy Award in 2019.
Like the only other modern American filmmaker to rank above him on the Sight & Sound list, Francis Ford Coppola (whose Apocalypse Now ranked 14th while The Godfather came in 21st), Lynch was that rarity in Hollywood.
Long after Lynch finished his last film, the questions still linger.