![]() Wild at Heart takes its protagonists’ twisted, perverse subconscious as its reality: a world of circus freak hitmen, trailer trash Wicked Witches, and, well, Crispin Glover. Like their counterparts in Nick Ray’s They Live by Night, Sailor and Lula “were never properly introduced to the world we live in.”īut as with so many of Lynch’s films, the world we live in is not particularly relevant. Each of these films follows the crime spree of a pair of lovers for whom sex and violence become entangled in an imaginary world of pop culture referentiality: for Badlands’ Kit and Holly, this is the world of James Dean and teen magazines for Wild at Heart’s Sailor and Lula, it is the world of Elvis Presley and The Wizard of Oz. It is also almost certainly the most self-conscious entry in that cycle of films that comprises Gun Crazy, Badlands, and True Romance (and its bastard cousin, Natural Born Killers). Among the many Bonnie and Clyde-style road movies in cinema history, David Lynch’s 1990 film, Wild at Heart, is unsurprisingly the weirdest. ![]()
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