Of Lynch’s films, Lost Highway’s leap to the 4K Ultra HD format was one of our most-anticipated. If you’re willing to let the sound and imagery wash over you, Lost Highway is among Lynch’s most frightening works-with a pervasive feeling of dread that runs throughout. Like so many of Lynch’s works, trying to find concrete meaning will be an effort in frustration- Lost Highway is one that needs be looked at like a painting, with Lynch using the medium to create atmosphere and evoke emotions rather than attempting to tell a story that follows any conventional logic.
These two stories connect to each other in a circular pattern, like a tape loop or a snake eating its own tail. (Pete has no memory of the events leading up to the strange switcheroo.) The two men are connected by some underworld-type characters from the LA porn scene, and a terrifying, spectral figure known only as the Mystery Man (Robert Blake), who seems to be guiding their actions in a supernatural way. This girl, Alice, is the blonde doppelganger of Fred Madison’s wife-whom Madison had been convicted of murdering, and was waiting on death row until he mysteriously disappeared and was replaced in his cell by Pete. The second follows mechanic Pete Drayton (Balthazar Getty), a not-quite-reformed criminal who gets into an ill-advised fling with the girlfriend of a dangerous Mafioso (Robert Loggia). Their relationship becomes more frayed when they start receiving unmarked VHS tapes of footage shot inside their own home while the couple is sleeping. One follows jazz saxophonist Fred Madison (Bill Pullman), whose marriage to Renee (Patricia Arquette) is rife with jealousy and boredom, and barely hanging on by a thread. There are two overlapping stories at play in his 1997 feature film. The above exchange from Lost Highway may be among the most chilling line readings in the filmography of David Lynch-a director responsible for several of cinema’s freakiest moments outside of the horror genre.
As a matter of fact, I’m there right now.”
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