27-08-2007

Monday

Aesthetics of Film & Video Assignment 2

Zeeshan Ahmad

Short Paper 1: Blue Velvet

Blue Velvet is a psychological thriller, written and directed by David Lynch. The film follows the clean cut Jeffrey Beaumont (Kyle MacLachlan) as his curiosity leads him to discover the seamy dark side of an otherwise quaint and idyllic American small town. Thematically, the film has also been classified as neo-noir1 and stylistically, some have also described Blue Velvet as surrealist2. The film starts with a cursory glance over the town of Lumberton. The first few seconds establish Lumberton as an idealist suburban town with clear blue skies, white picket fences and neatly trimmed lawns. This depiction is a clear reference to American soap operas from the 50s and 60s which depicted similar idyllic lifestyles and settings3. The film then zooms into one of the perfects lawns to depict various insects writhing in the dirt. These first few seconds serve as a prelude to the films explicit theme of what lies beneath. This prelude can be considered a metaphor that pre-empts Jeffreys discovery of a dark and twisted

underworld beneath the peacefulness he has so far encountered in suburban Lumberton. This insect motif repeats itself throughout the course the film. For example, when Jeffrey first visits Dorothy Vallens (Isabella Rossellini) apartment, he masquerades as an insect exterminator. Another subtle allusion to this motif is the mask Frank Booth (Dennis Hopper) uses to inhale his mysterious drug 4. Bens (Dean Stockwell) brothel can also be considered as alluding to a bee hive, filled with bloated mindless prostitutes resembling worker bees, completely under the sway of the queen bee, Ben 5. At the end of the film, the insect motif appears again, this time in direct reference to what was shown at the beginning, when Jeffrey spots a robin with an insect in its mouth. This scene can be interpreted in different ways. It can be considered an allusion to Jeffreys rescue by the power of love6. At the same time, it represents how Frank is just one of the many insects that exist in the world and how the underworld will survive despite his death. Another important motif in the film is the ear as a doorway to the mind. If this film is considered a study into the depths of the human mind, then particular attention must be given to this key symbolic element. When Jeffrey is first introduced, he is shown discovering a severed human ear. The camera then promptly zooms into the ear until the scene changes. The camera only zooms out of an ear (this time Jeffreys ear) near the end of the movie, when Jeffrey has come out of his ordeal. Apart from signifying the theory above mentioned, the ear motif also signifies Jeffreys journey in and out of his ordeal, the severed ear led

Jeffrey to Dorothy and Frank and when the camera zooms out of the ear at the end, it signifies the end to Jeffreys ordeal 7. Apart from the above mentioned meaning, the insect and the ear motif also serve another subtle purpose in the film. Both of them play a key role in giving the narrative a sort of symmetry, which in my opinion, heightens the films beauty. A less important motif is that of Blue Velvet. Although it bears no direct relation to the story of the film, it serves to establish a relation with the films title. It first appears with the opening credits, which roll against a blue velvet backdrop. Subsequently, it repeats itself most ubiquitously in the form of the song Blue Velvet by Bobby Vinton. For example the same song is sung by Dorothy in the club as well. Also, Dorothys robe is also blue velvet, as is the rag Frank pulls out of his pocket during the rape scene. The film also has subtle references to The Wizard of Oz. For example the hat decorated with musical notes and a propeller on top in Dorothys apartment, or for instance her red high-heeled shoes (a reference to the ruby red shoes Dorothy finds in The Wizard of Oz)8. The film also shares a thematic similarity with The Wizard of Oz in that they can both be considered as coming-of-age stories. Of passing interest, are the references to Abraham Lincoln and his assassination. Jeffrey is warned not to go on Lincoln Street. Dorothys husband is shot in the head, much in the same way as Lincoln was. And Frank Booths name can refer to John Wilkes Booth, Lincolns assassin. 9

Of course, like any other study, mine would be incomplete without atleast a brief mention of the agents involved, in this case the main characters. They consist of the protagonist and Hero Jeffrey Beaumont, the antagonist Frank Booth, the femme fatale Dorothy Vallens. Jeffrey is depicted as a clean cut, good natured and idealistic college student who unexpectedly stumbles upon a world wholly new and disturbing to him. Frank is shown as an absolutely wretched creature, with a penchant for sadism and rape. His prime victim is Dorothy, whose son he has kidnapped and from whom he extorts sadomasochistic sexual favours in return for her son. She is a tormented nightclub singer with developing masochistic tendencies. It is she who leads Jeffrey to the Lumberton underworld. These three characters can be said to form a metaphorical family, with Frank the father, Dorothy the mother and Jeffrey the son. According to psychoanalyst and film theorist Ann Mulvey, the films underlying oedipal theme can be interpreted as symbolizing the domestic violence and abuse in real families10. Michael Atkinson reads Jeffrey further as a nave and innocent youth who at the same time is both horrified and impressed by the abuse Frank inflicts and considers it the means for possessing Dorothy himself, as evidenced by the scene where Jeffrey is finally forced to hit her11. Blue Velvet incorporates many noir elements. For instance it is based around a crime that draws the Hero to investigate it further. It features the femme fatale in the form of Dorothy, who is responsible for the ordeal Jeffrey goes through upon the pretext of help. It depicts the Hero Jeffrey as being

morally ambiguous at times and sexually motivated in continuing to help Dorothy. The film overall is pessimistic in nature, for example, Dorothy is unwittingly trapped in her situation and she is striving against a doomed hope, i.e. she wants Frank to free her husband who as we see is killed later on. It poses a moral question in the form of Jeffrey asking why there are men like Frank. Other elements Blue Velvet borrows from noir include low-key lighting, location shooting, night-for-night sequences and low angle shots. It also makes use of the clichd shadows of Venetian blinds, notably in the iconic voyeuristic sequence. Blue Velvet also draws heavily from surrealism. It frequently employs the element of surprise. For example, one can refer to the above mentioned voyeuristic sequence when Dorothy discovers Jeffrey. Of less importance is its use of non sequitur, especially in the scenes featuring Jeffrey and Sandy Williams (Laura Dern). In conclusion, I would reiterate the films what lies beneath theme. This is not the type of film which can be understood in one screening. On the contrary, it is a multi-layered tapestry of symbolism which lends a new meaning every time one sees it. Most importantly, it is an intelligent commentary on the fact that brushing anything under the carpet would not make it non-existant.

References:

http://en.wikipedia.org/wiki/Blue_Velvet http://en.wikipedia.org/wiki/Surrealism_and_film

http://en.wikipedia.org/wiki/Blue_Velvet#Themes
4

http://en.wikipedia.org/wiki/Blue_Velvet#Themes
5

http://www.filmsite.org/blue3.html
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http://en.wikipedia.org/wiki/Blue_Velvet#Themes
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http://en.wikipedia.org/wiki/Blue_Velvet#Themes
8

http://www.filmsite.org/blue2.html
9

http://www.imdb.com/title/tt0090756/trivia
10

http://en.wikipedia.org/wiki/Blue_Velvet#Themes
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http://en.wikipedia.org/wiki/Blue_Velvet#Themes