Nicolas Cage: And Laura Dern
Ugh I hate having to write about movies that I can’t prove with words but that’s David Lynch for you and besides, I’ve been procrastinating writing about Mulholland Drive ever since I saw it (and rewatched the ending after my ongoing depress-athon). Here’s what I have to say, as I have originally typed on Ryan McNeil‘s blog:
a) I told you this in person but I’ll do it again because I’ll probably never end up writing about it in my space. Despite the incoherent fuctory that is Wild At Heart it’s probably the only movie of his – or any movie ever – that simultaneously conveys all emotions of funnysexyscary, mostly thanks to Laura Dern’s performance. Even in his better work, he can only manage to convey one of those three tones, or compartmentalizes them from one scene to another.
Don’t worry, this post will get slightly smarter.
I feel it juvenile that I hate to compare Dern’s Lula Fortune to other actors with more well-known movie quotables, and nothing beats those originals but we have seen de Niro’s bravado or Judy’s childlike demeanour through multiple imitations. And I suppose Dern also gets it easy with some of the one liners that we first hear on the trailer, like ‘You make me hotter than Georgia asphalt.’ We can do that as an inside joke, add a head or shoulder roll or two, remembering Lynch’s innately referential nature as he pays perpetual homage to post-war camp Americana. Slick greaser hair and jackets and antisocial behaviour are particularly more present here than in Lynch’s other movies, given a contemporary flavour through Sailor’s affinity to epilepsy-inducing metal music. Her love-making non sequiturs and narratives astound – ‘And I swear, baby, you got the sweetest cock. It’s like it’s talking to me when you’re inside. ],’ ‘You [Nicolas Cage’s character Sailor] remind me of my daddy. (I shouldn’t judge),’ ‘One time, [my aunt] found [my uncle] Dell putting one big cockroach on his anus.’ She says those lines with the borderline childishness that some girls put on in front of their boyfriends. They say that the portrayal of gravitas lessens over time and yes we can laugh at these lines but there’s this timeless earnestness in Dern and Lynch’s delivery of lust that I simply cannot negate. Who knew that the gaunt actress only needed her blond locks and a silver tongue to be sexy? Can she do it again?
And as Lula and her Sailor elopement gets bumpier and more crime-ridden, Dern’s performance gets its equal rocky footing. There’s also a scene where she find herself alone with Willem Dafoe’s grilled character – that’s never turned well in 99% of that actor’s movies. He sexually intimidates her and tells her to tell him to to ‘Fuck me.’ At first she resists but she does it, putting fear into a mix that cannot be duplicated. She’s Lynch’s instrument for better or worse and I don’t even see anything wrong with her bravery and vulnerability, while most of the leading actresses Lynch hires only has either. I wonder how her dad was like as an actor, if he could produce such a great here.
There are also Wizard of Oz references for some reason, Lula’s mother (Diane Ladd), the venomous woman from whom they;re running away, conjured through hallucinations as the Wicked Witch. Lula clicks her heels like Dorothy but Sailor doesn’t seem like any of Dorothy’s companions. Scarecrow maybe, for participating in failed bank robberies? Anyway, both the stunted feminine and masculine body politic is within the escapist Lula and she solves it by…marrying a dude? This is a man’s perspective of a romanticized female pathos, after all. And I keep talking about this movie as if I’m bored with Cage’s histrionics but Sailor does have death threats to avoid. And I just don’t want to see him as sexy with all the implications of that title, which this movie insists and almost succeeds on doing.