David Lynch’s cinematic style was revolutionary. His musical choices were equally brilliant.
David Lynch has left an indelible mark on the world of cinema, and his particular style owes a lot to his deep connection with music. Sound has been an integral part of his lush and haunting cinematic vision, from his arthouse classic Eraserheadin 1977, until his last film, Inland Empirein 2006.
Lynch co-wrote and produced some of the music for his films, but he also had an impeccable sense of using well-known songs. He constantly deployed great hits in unexpected corners of his films, recontextualizing and giving a new dimension to classics by Elvis Presley or Roy Orbison. Whether he’s borrowing from the world of pop or creating something of his own, his approach to music results in moments that are sometimes chilling, often stunning and almost always surprising. Here are ten highlights of a visionary career.
« In Heaven (Lady in the Radiator Song) “, In Eraserhead (1977)
Eraserhead derives much of the unease it provokes from Lynch and Alan R. Splet’s hissing, droning, and rumbling soundscapes. But the film’s most memorable moment occurs when Henry Spencer’s radiator opens to reveal a tiny scene, where an enigmatic woman croons the sweet and simple ” In Heaven », which lasts 98 seconds. The haunting and cartoonish tune, written by Lynch and Peter Ivers, will leave an impression on spectators. AsEraserhead established itself as a sign of iconoclastic expression against the grain, the song began to be found in the repertoires of irreverent groups like Devo, Tuxedomoon, Bauhaus and the Pixies. –Christopher R. Weingarten
« In Dreams ” In Blue Velvet (1986)
The climax of Jeffrey Beaumont’s emotional journey is being forced to watch the mysterious Ben lip-syncing Roy Orbison’s 1963 hit, “ In Dreams “. Orbison hated the use of the song after seeing the film. However, pushed by his friends to watch it again, he ended up liking it. Orbison re-recorded the song, released a music video incorporating footage from Blue Velvet and his career underwent a revival that lasted until his death in 1988. -C.W.
« Love Me ” In Sailor et Lula (1990)
Years before Nicolas Cage married Lisa Marie Presley or skydived with Elvis lookalikes in Honeymoon in Las Vegasthe actor was inspired by the King in Sailor et Lula. Elvis inspired Lynch’s interpretation of Cage’s character Sailor, and Presley’s music appears twice. Nicolas Cage sings “ Love Me » for his beloved in a rock club. As this list shows, the artist singing on stage is a recurring motif in the work of David Lynch, from Blue Velvet has Mulholland Drive passing through Twin Peaks : The Return. -Daniel Kreps
Angelo Badalamenti, music by Twin Peaks (1990)
Lynch was sitting with Angelo Badalamenti when he told the composer what he envisioned for the music for his next project. “ David said: “Start with eerie music, like being in a dark forest, then move on to something beautiful to reflect a beautiful teenage girl.”remembered Angelo Badalamenti in 2014. Then go back, do something sad and return to that sad, foreboding darkness “. In a single take, Badalamenti created the spectral “ Laura Palmer’s Theme ”, one of the many highlights of one of the most influential soundtracks of all time. Whether instrumental or accompanied by singer Julee Cruise, Badalamenti’s eerie and seductive dream pop has become as iconic as the series itself. The theme song even won a Grammy in 1991, beating out Phil Collins and Quincy Jones. -Angie Martoccio
« Just You ” In Twin Peaks (1990)
David Lynch has learned that James Marshall (the actor who plays James Hurley in Twin Peaks) would bring his guitar on set to keep busy between takes. Naturally, he asked the actor if he wanted to perform a song on the show. With Badalamenti, the trio composed “ Just You », a song inspired by the Platters. In an iconic scene from the ninth episode, Marshall performs it with Lara Flynn Boyle and Sheryl Lee, but he’s not the one playing the guitar: during a question-and-answer session, he declared that they had previously recorded with West Coast punk icon John Doe of X. -C.W.
-« Falling ” In Twin Peaks (1991)
While he was composing the music for Blue VelvetAngelo Badalamenti brought in Julee Cruise and introduced Lynch to her airy voice. Quickly, all three artists became permanent fixtures in their respective creative work. Badalamenti and Lynch are both featured in the credits of Cruise’s debut album, Floating Into the Night, but perhaps the best testimony to the strength of their collaboration is the song “ Falling » by Cruise, one of his many contributions to the series’ soundtrack Twin Peaks (she also appeared in several episodes). The instrumental version became the theme of the series, and the song won an unexpected Grammy in 1991. The way Cruise speaks here perfectly illustrates why this sound was complementary to Lynch’s confusing worlds. -Julyssa Lopez
« Sycamore Trees ” In Twin Peaks (1991)
In the final 90s episode of Twin PeaksAgent Cooper makes one of his most memorable trips to the Red Room where jazz legend Jimmy Scott performed ” Sycamore Trees », a piece written by Lynch and Badalamenti, in the middle of strobe lights. This appearance marked a small return to favor for Scott, who released an album of standards on a major label in 1992, All the Waywhich earned him his first Grammy nomination. -C.W.
« I’m Deranged ” In Lost Highway (1997)
David Bowie was part of David Lynch’s universe long before his song ” I’m Deranged » appears in the opening sequence of the horror film Lost Highway (1997). Bowie was a fan of his work, appeared in Twin Peaks : Fire Walk With Me (1992) and based elements of his album Outside on the series. It was a concept album about the murder of a teenage girl and the detectives who investigated the case. Lynch and the soundtrack’s producer, Trent Reznor (who was working for the film for only the second time) chose to start Lost Highway by the title “ I’m Deranged » from this album. The synthesizers and lyrics set the tone for what has been described as Lynch’s most disturbing film. Featured on a soundtrack alongside tracks by the Smashing Pumpkins, Marilyn Manson and new music from Reznor himself, the song helped introduce Bowie to a new generation. –Elisabeth Garber-Paul
« Crying ” In Mullholland Drive
The surreal mystery of this 2001 film centers around an extraordinarily strange performance at a venue known as Club Silencio. Betty (Naomi Watts) and Rita (Laura Harring), the two characters we got to know in the first half of the film, go to the club together late at night. They attend the performance of Rebekah Del Rio, from SoCal, who performs “ Crying ”, his cover in Spanish of “ Crying » by Roy Orbison. Betty and Rita become more and more upset as the performance goes on…until Del Rio suddenly breaks down in the middle of the song, his vocals continue, and reality begins to collapse. -Simon Vozick-Levinson
« Locomotion ” In Inland Empire (2006)
Only David Lynch could take one of the most sparkling pop classics of the sixties and integrate it into the story of an actress who goes through the horrors of Hollywood. Halfway through the film, as Laura Dern’s character begins to slip into a nightmarish no-man’s land between reality and the illusions of the film sets, a group of women appear before her and launch into a choreographed dance of “ Locomotion “. The tonal shift, coupled with Lynch’s signature murky lighting, is utterly brilliant, making it one of the craziest moments in the film’s long list of crazy moments. A blink later, the dancers disappear, leaving nothing but eerie silence and Dern’s terrified expression. And everyone is trying to understand what just happened… -JL
Translated by the editorial staff
