The 10 Creepiest David Lynch Moments

As a tremendous admirer of David Lynch and his artistry, I thought this was a brilliant idea for a post by the writers of Zen College Life (www.zencollegelife.com). I personally feel that he is one of only a select handful of American filmmakers who you can classify as a true “auteur.” Katina Solomon was kind enough to send this my way and after reading it, I felt I must publish it here on The Lantern to help spread the Gospel of Lynch. Some amazing and haunting scenes are listed here…give it a look! — P.E.

When your name becomes an adjective, you know you’ve made it. Case in point: the word “Lynchian” now means, essentially, a movie characterized by stark images, eerie moods, arresting sound design, and often graphic and twisted depictions of the human form. In other words, it’s like watching the most beautiful nightmare you’ve ever had, torn between wanting it to end and wanting to see if it gets weirder. David Lynch. He’s a masterful, remarkably assured filmmaker who’s proven himself to be one of the American greats, yet even by his own special standards, the scenes below are full-on creepy. They’re dark and ominous, and they share a common fear of the unusual and unknown. Many of them are marked by the sudden appearance of something unsettling that’s made all the more so for the way it just kind of shows up in the middle of a scene that’s already surreal. Don’t know what we mean? Throw some headphones on and get comfy, then. Time for a trip down Lynch’s rabbit hole.

10. Every Single Moment in Eraserhead

Lynch’s first film remains his most disturbing. Shot on a shoestring budget in the 1970s, the film is a gross, often revolting work that revolves around a deformed creature with no limbs and a monstrous face. Placing a heavy emphasis on emotional states over linear narratives, the film is a blast of bizarre visions and creepy encounters that Lynch may never top (not that he should.) Even for Lynch die-hards, this is a tough one.

9. The Televised Rabbits in Inland Empire

Significant portions of Inland Empire involve a faux-sitcom set featuring a three-member family with human bodies and rabbit heads. The images come from “Rabbits,” a series of video shorts Lynch made in 2002. On paper, the set-up sounds like a cheesy kids comedy, but in Lynch’s hands, it becomes so weird and menacing and uncomfortable that you don’t know what to do.

To view the scene, please click here.

8. The Shooting at Room 47 in Inland Empire

Totally nonlinear and endlessly challenging, Inland Empire offers some of Lynch’s most upsetting imagery (which is saying something). The movie’s basically a series of scenes that only loosely form a plot, and the action comes to a head when Nikki (Laura Dern) confronts the evil Phantom and shoots him, only to see his face turn into a grotesque version of her own. Seriously, this will mess you up…

To view the scene, please click here.

7. Club Silencio in Mulholland Drive

Only Lynch could make such a moving and beautiful scene so rattling. The final moments of Mulholland Drive exist almost outside of time and reality, playing with the fabric of dreams and death just like the rest of the film. We get our heroines back, briefly, freed from suicide and sex games and everything else that’s plagued every version of them, and we also get a stirring song that raises the nature of seeing versus believing.

6. The Mythical Origin Story in The Elephant Man

Probably the most accessible film Lynch made until 1999’s The Straight Story, The Elephant Man was nominated for a host of Oscars and earned praise for its cast. The opening of the film, though, is vintage Lynch, blending sight and sound into a weird metaphorical origin story that sees a woman trampled (and maybe more) by a herd of elephants. Even in a film as straightforward as this one, the “Lynchian” vibe is inescapable.

To view the clip, please click here.

5. The Figure Behind the Diner in Mulholland Drive

Originally written as a TV pilot before being retooled and partially reshot, Mulholland Drive is a haunting Mobius strip of a movie that slides back and forth between dreams and reality in ways specifically designed to leave viewers unsure of what’s happening. The creepiest moment is one that feels totally unrelated to the surrounding story, too. Set at a diner called Winkies, the scene deals with a man confronting a nightmare that turns out to be real. It doesn’t matter how many times you’ve seen the movie, or what your theories are about this scene’s meaning: it will still scare you. Here’s part one; the conclusion is below.

4. The Chat with the Mystery Man in Lost Highway

It sounds misleading to merely refer to Lost Highway as unsettling, as if the rest of Lynch’s c.v. was a lighthearted romp through Candyland, but there are some really spooky moments here that almost defy description. (David Foster Wallace memorably profiled Lynch during the film’s production for Premiere magazine.) The plot is almost too Lynchian to try and sum up, but it starts out dealing with a man (Bill Pullman) who finds himself haunted and stalked by a pale old Mystery Man (Robert Blake). After a brief vision of the Mystery Man, our hero meets him at a party and has a supremely eerie conversation with him that seems to break the rules of space and time.

3. Frank Booth’s Dry-Humping Fit in Blue Velvet

Blue Velvet was Lynch’s art-house redemption after the bloated mess of Dune, and he didn’t mess around: the film’s loaded with the symbolism and sexual themes that are prevalent in much of Lynch’s work. Chief among these is a wild man, Frank Booth (played with insane lust by Dennis Hopper), who gets off by dry-humping Isabella Rossellini while huffing from a gas mask. Even for a movie that kicks off with a guy finding a severed ear, this is a rocky scene.

2. The Appearance of the Navigator in Dune

Lynch’s version of Frank Herbert’s sci-classic is, well, not without its flaws. Lynch spoke out against the film, saying that producers had kept him from having final cut and implementing his own personal vision. Still, the film remains a stark and often ugly work of modern art, and it’s packed with the physical grotesqueries for which Lynch is often known. Easily the most unnerving is the giant navigator that at once is phallic and vaginal, a mutant in a glass case who can fold space and time and who has paid a bodily price for being submerged in the magical spice that gives him his powers. It’s impossible not to see him and feel a chill.

1. Agent Cooper’s Dream in Twin Peaks

Twin Peaks was the kind of daring, what-is-going-on type of TV show that now exists on cable. But in 1990, you could actually get a network to take a chance on a murder mystery that chucked the whodunit plot in favor of weird characters, dream sequences, and pie. Agent Cooper’s dream at the end of the second episode (after the two-hour TV-movie pilot) became an instant pop culture sensation thanks to its style, execution, and indescribable oddity. It’s vintage Lynch, and it set the stage for the rest of the show’s iconic run.

By Katina Solomon
(Zen College Life website)

10 Movie Scenes That ALWAYS Bring on the Waterworks

I have an imaginary outtake scene in The 40-year Old Virgin, only here, I am cast in Seth Rogan’s character opposite Paul Rudd. The scene goes something like this:

Paul Rudd (to me):     You know how I know you’re gay? 
Me:                              How?
Paul Rudd:                 You create lists of movie scenes that make you cry.

OK, so today I feel like getting more in touch with my sentimental side. What can you do? It happens. Anyway, I managed to catch a scene from a movie a couple of days ago that ALWAYS makes me cry and thought that I’d come up with a list of 10 movie scenes that always make me cry like a little baby. And you know what?! I’m secure in my own masculinity to create such a list, dammit! This is NOT a Top 10 List, as there are surely other scenes out there that bring on the same proverbial waterworks for me. Nor are these scenes you see here in any particular order. They are simply what I think are 10 great, emotional scenes that, for whatever reason, move me to such a point where I have to reach for a tissue. And stop snickering at me…there’s no shame in it!

And hey! Since I’m putting myself out there, I expect you to do as well. Post your comments and share a scene or two that makes you teary-eyed and weepy…unless you have no heart at all!

1. The Final Scene of ‘Running on Empty’

SPOILER ALERT!!! Earlier in Sidney’s Lumet’s wonderful movie, the family clears the dinner table and joyfully starts to sing along to James Taylor’s classic “Fire and Rain.” Arthur and Annie Pope have been running from the FBI since blowing up a bomb to protest the war. Their son Danny (River Phoenix) has had to live with the repercussions of their acts. The final scene always gets me. On the run again, the family is in their truck and Arthur (Judd Hirsch) tells his son to take the bike out of the back — and to get on it. We see the truck drive off, leaving Danny alone to start his own life anew — all played against the backdrop of the very moving “Fire and Rain” song yet again. The combination of the song and this pivotal moment always wrecks me.

2. The Baseball Catch from ‘Field of Dreams’

Maybe it’s because I’m a huge baseball fan. Or maybe it’s because some of the greatest memories I have are when my father managed me in Little League. Perhaps it’s because this marvelous story of Ray Kinsella’s (Kevin Costner) strained relationship with his father, forever seeking his approval just got to me. I think it’s a blend of all three. Near the end of the film, on his utopian baseball field, Ray recognizes his father in the prime of his life. The two shake hands and say goodnight. As his father turns to walk away, Ray asks, with a crack in his voice, “Hey, Dad? You wanna have a catch?” His father simply says, “I’d like that.” What follows is a very simple, moving father-and-son catch. Gets me every friggin’ time…

3. A Connection is Made in ‘Rain Man’

Charlie (Tom Cruise) tries to make a connection, any connection with his autistic brother Raymond (Dustin Hoffman) throughout the film. Of course, Raymond is mentally unable to do so, much to Charlie’s tremendous frustration. Charlie ‘kidnaps’ his own brother from an institution solely for selfish and greedy purposes. As the two brothers spend time together, Charlie undergoes a miraculous transformation of character and begins to feel absolute love for his brother. When he returns his brother, the two are given a moment alone to say good-bye and  Charlie says to him, “What I said about being on the road with you I meant. Connecting. I like having you for my brother.” The two slowly, softly touch heads — and finally, a connection is made…if only for a moment and Charlie repeats with great warmth, “I like having you for my big brother.” It’s a cathartic moment to be sure as the entire film is building to this one emotional moment. Tender, warm, poignant…excuse me, I need a moment….

4. Adrian’s Change of Heart in ‘Rocky II’

I realize this is hokey and very melodramatic, but I don’t care. I love this movie, I love this scene and I love the dynamic that is Rocky and Adrian. Adrian (Talia Shire) has been pleading with her husband not to fight Apollo Creed again because she is worried about his eye. Rocky (Sylvester Stallone) is struggling with himself as to what he should do. He decides to fight, but without Adrian’s stamp of approval, his heart is just not into it. Adrian gives birth to a baby boy and falls into a coma. Now Rocky won’t train at all and spends all of his waking hours at church or at his true love’s bedside, reading to her. After a long while, she finally wakes up. With her new baby in hand, Adrian has a complete change of heart. She looks up at her husband and says, “There’s one thing I want you to do for me.” He leans in. She smiles, and simply says, “Win.” It is at this moment where I lose it. The iconic music starts to play, Rocky finally smiles and we know he’ll go back to training and kick the crap out of the champ.  Throughout the Rocky series, his love for his wife never wavers and I think it is one of the stronger aspects of the franchise. I also think that Adrian is what makes Rocky tick. Without this scene, Rocky gets slaughtered and loses in the rematch.

5. Singing for Prison Inmates in ‘Young @ Heart’

One of the Top 10 films of 2007, this inspiring documentary focuses on a chorus of senior citizens in Massachusetts who perform cover songs by The Clash, Sonic Youth, James Brown, Jimi Hendrix and many others. Many of these real-life people stay with you long after the film is over, reminding us of what is truly important in this life.  Fred’s solo to a packed theatre near the end of the film will no doubt move you, as will many other emotional scenes. There is a lot to laugh at throughout this life-affirming movie, and yes, a lot of times where you can’t help but cry. The emotional climax for me occurs when the Young @ Heart chorus perform a concert — at a prison! After losing one of their own, they go out and sing Bob Dylan’s classic “Forever Young” to the inmates of the prison and…talk about perspective! The looks on the faces of the prisoners are completely genuine as they listen to the elderly singers and yes, the chorus no doubt has their utmost respect. It remains one of the most moving scenes of any film I have seen in recent memory. If you missed this film, I highly recommend that you go out and rent it as I am sure you will be pleased that you did.

6. Helpless Feeling in ‘She’s Having A Baby’

Go ahead, laugh. Then watch this scene once more and I will await and accept your apology for doing so. After much prodding by their parents, newlywed couple Jake & Kristy Briggs start to try and have a baby. They continue trying. Finally, Kristy (an adorable Elizabeth McGovern) is pregnant.  However, there are severe complications with the delivery, leaving Jake (Kevin Bacon) powerless and waiting for a good word. This is such an emotionally draining sequence and John Hughes picks the perfect song (Kate Bush’s moving “This Woman’s Work”) to accompany the montage of watching Jake crippled with fear and anxiety for the well-being of his wife. The song certainly helps, but Bacon is brilliant here. Watch his initial reaction when he is told what is going wrong with the delivery. It is so natural and so genuine, we instantly feel for him. The camera pans out and the beginning of the song begins to play at just the right moment. The beautifully edited montage is so effective as Bacon plays with his wife’s ring, his father’s ‘thumbs up’ to him from afar — giving him his needed space. The symbolic drop of blood to the floor is a nice touch. I get teary-eyed with goose bumps just thinking about it.

7. Final Sequence of ‘Umberto D.’

Vittorio de Sica’s 1952 masterpiece which Time magazine wisely included in their “All-Time 100 Movie” list. I don’t know how any human being alive can watch this film and not shed a tear. Umberto Domenico Ferrari (Carlo Battisti) is an old man in Rome who is poor and trying desperately to keep his modest, shoddy apartment which is becoming quite difficult to do since his landlady wants to throw him out if he doesn’t come up with 15,000 lire. His best friend in the world seems to be his little dog, Flick (called ‘Flag’ in some subtitled versions). Umberto is admitted to a hospital and when he returns home, finds that he is no longer welcome. He also discovers that his dog is gone. After finding him, he looks for a place where Flick can live a carefree life, away from all of his hardships. I will not include the video of this movie, because that would completely spoil it for you. Suffice it to say that the last scenes of this film always manage to break my heart in more pieces than any psychotic ex ever has. If you are interested in seeing this glorious piece of filmmaking, do yourself a favor — read nothing about it beforehand — and get a box of Kleenex…you’ll need it.

8. A Fitting Farewell to Professor Keating in ‘Dead Poets Society’

I am not sure why, but most film bloggers seem to have a great aversion towards this film. I absolutely love it – always have. Is it melodramatic at times? Perhaps. Is this particular scene a bit over-the-top and cheesy? I say, “Not at all” if you understand where it is coming from and it all starts with the character of Todd Anderson (a very young Ethan Hawke). Todd has been the quiet, insecure one throughout the film…always wanting to do, but never actually doing. Professor Keating (Robin Williams) has been unfairly dismissed of his duties at the prep school and the impact he has made on his students will be remembered throughout their lifetimes. In this deeply affecting scene, he enters the classroom to pick up a few of his belongings. There are actually a handful of scenes where I can’t help but start crying, but this one has become a classic scene (hey – it beats the hell out of hearing “I’ll have what she’s having” for the umpteenth time). The tension in the room is palpable as they leaf through the poetry book. The desk of Neil Perry’s, noticeably vacant; the exchange between Keating and Todd made just with their eyes….very moving. The core of this film is the relationship between these two characters and here, it reaches its climax. Ethan Hawke says so much here without saying anything at all…we see him struggling with himself, wanting to speak out. He knows this will be his last opportunity to do something, anything…and he takes his first step, literally and figuratively. Robin Williams doesn’t overdo it at all, but merely reacts to what is happening before him – and his subtlety is very touching. The students who stand…This is their “Thank You” to their wonderful teacher — and by the look on Keating’s face, it is perhaps the greatest goodbye gift he could have asked for as he says, “Thank you, boys. Thank you.” I have seen this film many times and it never ceases to move me. I can watch this film twenty more times and I know for certain that I will surely cry another twenty times.

9. Reading Shakespeare in ‘The Elephant Man’

John Merrick (John Hurt) is first abused and used for profit being showcased as a freak. He is then taken into the safe confines of a hospital by Dr. Treves (Anthony Hopkins) only to be showcased as a freak of nature once more — and again, for the personal gain of the man he is entrusted to. No one bothers to try and make a human connection with him, even though in many ways, Merrick possesses more humane qualities than those around him. Here, the famous stage actress Mrs. Kendal (Anne Bancroft) makes that connection by presenting her new friend with a gift. Merrick begins reading the lines from Shakespeare’s classic love story, Romeo and Juliet and soon, the two are reading the lines of the star-crossed lovers to each other. It is a hypnotic exchange. Watch the way Bancroft looks at him throughout – not like every other person does, but with gentle eyes. She sees not a deformed elephant man, but a real-life Romeo. This entire film makes me teary-eyed, but the human connection made right here is the highpoint for me. Mel Brooks was right in hiring the masterful David Lynch to direct this film. Released now 30 years ago, it never ceases to have a profound emotional impact on me.

To watch this great scene, just click here.

10. Making Breakfast in ‘Big Night’

One long shot, one short word…sheer brilliance. Watching this final scene on its own of course does no justice to the emotional weight it surely carries. However, when you watch the entire film that leads up to this, the love between the two immigrant brothers hits you hard, and needs no words. We know that everything that has happened before is water under the bridge…nothing at all compared with the great bond that exists between Primo and Secondo (Tony Shalhoub and Stanley Tucci). One of my all-time favorite last scenes of any film I have ever seen. The relationship between the brothers throughout the movie is complex and extraordinary, as it builds to what we see here. Directors Campbell Scott and Tucci have a delicate touch throughout and make the perfect choice here by having everything done in silence. I always need a moment when the credits start to roll. A moving film, a stirring scene.

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