That’s the same Jimmy Stewart, who, folksy demeanour aside, was in those years a reactionary super-patriot, so maybe Mel was saying more about Lynch than we actually heard. “Jimmy Stewart from Mars,” Mel Brooks called Lynch. When his camera savoured the sight of a black man’s brains hanging from the back of his skull in Wild at Heart, I’d had enough. I admired Lynch’s access to the darkest recesses of his psyche, and the consistency and richness of his obsessions, but I detected traces also of Eisenhower-era nativism, white-picket-fence fascism and plenty of misogyny. I felt very alone in my dislike for Blue Velvet and Wild at Heart. David Lynchs Wild At Heart (Original Motion Picture Soundtrack) (Cassette, Compilation)London Records: 845 128-4: Europe: 1990: Recommendations. Which is when everyone else discovered him. David Lynchs Wild At Heart (Original Motion Picture Soundtrack) (LP, Compilation, Stereo)London Records: 845 128-1: Europe: 1990: New Submission. But Dune felt like directorial miscasting of the most egregious variety, and I was on the outs with David Lynch for the next decade. I admired The Elephant Man, too, as a great British movie by an American director (see also: 10 Rillington Place The Servant), and also for – not something one automatically associates with Lynch – the convincing saintliness of both John Merrick and Dr Treves.
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