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Oh boy, what a weird movie. How can I even comment it.

David Lynch films are not easy to get into (at least for me). Usually I don't like them upon first viewing, but at least Mulholland Drive has slowly become my super favorite. I don't expect Blue Velvet to climb as high, but there is some grower potential.

I liked the beginning the best, when it's like a murder mystery. But then it goes crazy in all directions and I don't really know what to think. But some things are certain: the cinematography is beautiful and atmosperic, and there is a lot of great acting. Dennis Hopper is totally crazy in this film, but others aren't bad either.

If you like strange movies, see this one. But only if you can stomach some violence and sexual weirdness as well. I will probably get an urge to want to see it again at some point because it has such a distinct atmosphere and style.

This has always been a unique crime movie, like no story I have seen before or since. In numerous ways, it's a sick film...but utterly fascinating, even after a handful of viewings. It's a certainly a trademark of director David Lynch with its bizarre story and twists and strange characters.

This movie has one of the most evil characters ever put on screen: "Frank Booth," played by Dennis Hopper. The latter is known for playing psychotic killers and this role tops them all. Hopper was never sicker. Almost as bizarre as him is the female victim in here, "Dorothy Vallens," played a mysterious Isabella Rossellini.

Kyle MacLaclan is good as the nosy late-teen who just has to find out what is going on in Dorothy's apartment while girlfriend Laura Dern gets caught up in his curiosity.

In a movie that features strange characters, the strangest scene of them - and there are a number - is in Booth's apartment with Dean Stockwell and his friends. Stockwell's lip-synching to an old Roy Orbison song is really freaky. Make no mistake, though: as bizarre as this film can get, it's mostly a very suspenseful crime story that can get very uncomfortable to watch at times. The language in this film was surprisingly tame.....until Hopper enters the scene. He's about the only character who uses profanity but he makes up for the others by using the f-word in about every sentence. He is so over-the-top, though, that after the initial shock seeing this movie once or twice, I know almost laugh out loud at him and way he acts.

Visually and audibly, this is another interesting Lynch movie with superb colors, creepy camera angles and a diverse soundtrack. You hear everything from lush classical music to old rock 'n roll songs, and a bunch of bizarre noises (sound effects).

From discussions I've had, this seems to be a film people love or hate. There is not much room for middle ground. Lynch has done much "nicer" films such as "The Straight Story," crazier films ("Wild At Heart," "Eraserhead") and classier movies ("The Elephant Man") but this will be his trademark film: the one above others he will be remembered for, good or bad.

What surprised me was how very different this was from the two other great David Lynch films I'd seen: "Lost Highway" and "The Straight Story", which are in turn very different from one another. I'd been told by a disappointed David Lynch fan, back in 1997, that the only reason I was so deeply impressed with "Lost Highway" was that I hadn't seen "Bue Velvet", in which he does much the same kind of thing better. "Blue Velvet" may indeed be better (I wouldn't want to say), but in no respect is it the same kind of thing. (The only instance I've encountered so far of Lynch making the same film twice is "Lost Highway" being remade as "Mulholland Drive", which partly accounts for the latter film being so stale and uninvolving.)

"Blue Velvet" is a simple amateur sleuthing story, but the genius is in the telling of it. It's hard to avoid the feeling that something supernatural is somehow involved, although it isn't, and we know that it isn't. It looks and feels as though we're watching the world through a special enchanted (or cursed) prism: the image has been pulled apart, ALMOST into two distinct images, with the elements of pure evil and pure wholesomeness now distinct from one another, sitting just millimetres apart.

Unrelated to this, but still contributing to the intense suspense and the overall creepiness, is Lynch's ability to make us familiar with a few ordinary locations, which grow more sinister - or at least more meaningful - every time we see them, until the sight of a simple concrete stairwell in the dark is enough to make us start to panic.

The sexual revolution in film came some ten years after the label's coinage in the late Sixties. It probably began with Last Tango in Paris. Directed by the acclaimed Bernardo Bertolucci, Last Tango is notorious for a sex scene involving Marlon and roughly a third of a stick of butter. Theretofore sex in film could potentially be used as a means of revealing the lightest or the darkest character's traits: primarily, vulnerability, instinct, sadism and impulse. Blue Velvet is a good example of a movie using such a dynamic. Blue Velvet is not a film that is easily appreciated. Likewise, it is not a film that is easily forgotten. It is a timeless controversy, and it is a vision demanding attention if not praise.

Set in a small American town, Blue Velvet is a dark, sensuous mystery involving the intertwining lives of four very different individuals. The film's painful realism reminds us that we are not immune to the disturbing events which transpire in Blue Velvet's sleepy community. There is a darker side of life waiting for us all. And as a critic said 'you either think it's dementedly wild at heart or a lost highway to nowhere'. Even some eighteen years after the release of Blue Velvet its vision remains wildly adamant relative to the stride of other works of contemporary noir. There have been many films about suburban crime, but none as dangerously imposing as this. Why is that so?

If Blue Velvet might not be labeled as a masterpiece one has to acknowledge that there are in this movie a lot of so called 'masterpiece element' and if Blue Velvet will never be considered as Mr. Lynch best feature, I personally can see a lot of David Lynch's genius flowing in that movie.

First of all, the way David Lynch makes Blue Velvet increasingly disturbing is a perfect example of how pristine the dynamics of weirdness and tension are built (remember Eraserhead and Elephant Man). Through this process Mr. Lynch indeed deconstructs the audience expectations. The film setting and mood are introduced in an exposition lifted directly from older films (there are numerous references to It's A Wonderful Life). In result the film is initially expected to follow a particular path. The way Mr. Lynch associate elements of classic narrative methodology and 'his dynamics of noir' (previously explained) appears to be original at worst 'avant gardiste' at best.

Second of all, the opposition between the creepiness of the plot and the setting of it is definitely for me a masterpiece element. The film is set in Lumberton. This does not represent a quaint, small town by similarity; it is one. Lumberton is filled with characters that are completely typical. I can almost see the cops eating doughnuts in the coffee shop and the local football star dating the head cheerleader. This typicality is definitely not out of coincidence but of intention. In fact these characters function to punctuate the story, not to distinguish it. The 'infamous' individuality of Lynch's vision is established in the darker side of Lumberton. Our perspective throughout the film is fixed on Jeffery, and is deliberately biased by his good nature. Jeffery is portrayed with great subtlety by Kyle MacLachlan (FBI agent from "Twin Peaks"). He is paired with Sandy (Laura Dern), the daughter of a neighborhood investigator who epitomizes to perfection the 'girl-next-door'; in Blue Velvet it is her literal function. Completing this diverse list of roles is a haunting and brief performance by Dean Stockwell as well as Dennis Hopper who creates a flabbergasting portrait of unrepentant and irredeemable evil. The confrontation or those characters or the collision among themselves makes for a mesmerizing experience.

Once again Mr. Lynch succeeds in the masterful exercise of controlling the audience's attention. Most of us will not quite know what to make of it and we can disagree on the value of such a cinematic experience. However audacious, erotic, disturbing, haunting are adjectives that will always be linked with Blue Velvet. The 'Thriller' has just been re-invented by Mr. Lynch right in front of our eyes.

After his father collapses on the front lawn, college student Jeffrey Beaumont is made return home to the picturesque town of Lumberton; a place as quintessentially American as apple pie and coffee as black as midnight on a moonless night. Everything he once knew, however, appears different: full of mystery, strangeness and darkness. Like Dorothy in 'The Wizard of Oz,' Beaumont peeks behind the curtain, and is confronted with the harsh reality of a situation he had imagined to be perfect. Join Beaumont as he explores the seedy underbelly of the ideal suburban dystopia, in David Lynch's 'Blue Velvet'.

Delightfully dark and disturbing, 'Blue Velvet' is a fascinating portrait of American existence full of abstractions, black-comedy and violence. "If one looks a little closer at this beautiful world, there are always red ants underneath," Lynch has said, and Beaumont is fascinated by the creatures (both literal and figurative) he stumbles across upon his return to Lumberton. Lynch uses his story to examine themes of violence, voyeurism and sexuality, in a way which still feels relevant today. Additionally, in our social media focused society- where people's representations of themselves are often far from reality- the idea of someone discovering the real truth beneath a glossy façade is incredibly percipient.

Which is not to say the film is an overly intellectual affair, or is in any way pretentious, because it isn't. The off-beat humour that would go on to feature so prominently in 'Twin Peaks' and 'What Did Jack Do?' (among other works of Lynch's) is on full display. Like Takeshi Kitano, and to a lesser extent Werner Herzog, comedy is just as important to the narrative as the mystery and darkness at the center of it all. Though violent and often uncomfortable; 'Blue Velvet' is also a strangely funny movie with plenty of opportunities for laughter.

Music is incredibly important in 'Blue Velvet', and Angelo Badalamenti's beautifully sinister score haunts the film. Initially hired as Rossellini's vocal coach, he eventually became the composer and music supervisor, and has served in this capacity on nearly every other Lynch project to date. His unsettling but melodic tunes perfectly match the bizarre, often disquieting images that one associates with Lynch, and throughout this film his formidable presence- in the form of his score- is made known. Alongside Badalamenti's original score, a soundtrack of 50's pop hits- be it the title track, as performed by Bobby Vinton, or Ketty Lester's 'Love Letters'- are utilized to eerie effect, contributing to the atmosphere of sinister banality and hidden danger the film contains.

'Blue Velvet' is a visually arresting movie, with stunning cinematography from Frederick Elmes. His composition under Lynch's direction is inspired, irregular and heavy with symbolism. The opening satirical montage, of suburbia in all its white picket fenced glory, is a strangely grotesque and highly symbolic display- like a bizarre and brilliant mixture of Edward Hopper, Edvard Munch and 'The Andy Griffith Show'. It sets the tone of the rest of the film, and- combined with Badalamenti's score- many of the images from 'Blue Velvet' will almost certainly haunt your dreams.

'Blue Velvet' finds Kyle MacLachlan starring as Beaumont, in his second collaboration with Lynch. A charismatic and charming fellow, MacLachlan plays Beaumont like a young Jimmy Stewart for modern times: a good humoured, kind-hearted boy innocently intrigued by the darkness he suddenly finds all around him. MacLachlan is the perfect leading man for this type of story, as he is more than willing to go to complex and morally ambiguous places performance-wise.

Co-starring as the club singer he forms a bond with is Isabella Rossellini, who gives everything to her role. Her performance is heart-breaking and intense, as a woman trapped in a horrific nightmare of machoism and shame; she is electrifying. Years ago, critic Roger Ebert accused Lynch of being crueler to Rossellini than anyone on screen, suggesting that the director constructed the film as some sort of misogynistic torture chamber for the woman who would go on to be his romantic partner for five years. While there is much violence in the film, his accusations were ridiculous. Viewers understand that Rossellini is an actress, that Lynch is a director, and that they are creating fiction. Like with 'Salò, or the 120 Days of Sodom', the process may be difficult in places and the finished product may look shockingly authentic, but we still know it's just a movie; and an actress giving a brilliant, tour de force performance.

The late, great Dennis Hopper also stars, as one of cinema's all-time great villains: Frank Booth, a gas-huffing sadist with a penchant for Pabst Blue Ribbon and Roy Orbison. Leading Beaumont down a rabbit hole of indignity and crime, Hopper has arguably never given a stronger performance. He throws himself so fully into the role, it is frightening to think what he must have been like on set. "I am Frank Booth," he allegedly told Lynch before shooting began; and there's no reason to doubt him after watching the film. Cruel and unusual, insane and assured of himself- he is the pinnacle of perversion.

Rounding out the main cast is a young Laura Dern- already showcasing the talent and depth she is acclaimed for these days. She plays Sandy, the daughter of a local detective whom Beaumont meets. She is also intrigued by the darkness of suburbia, though doesn't immerse herself in it; staying apart in a world she understands. Sandy is a ray of hope for Beaumont, and his last link to the goodness he once saw everywhere. There could be no one better for the part than Dern. In fact, every role is perfectly cast, from the likes of Brad Dourif and Jack Nance, to the sadly departed Dean Stockwell in an all too short, scene-stealing turn as the 'In Dreams' miming, ultra-suave Ben.

As many have done before, one could go on discussing 'Blue Velvet' endlessly. It has so much to offer, on so many different levels, that no two viewings are likely to feel the same. Funny, dark and thoroughly entertaining from start to finish, it is a remarkable film, featuring terrific performances, a great score and beautiful imagery. If you haven't seen it before, you've missed something truly unique: the work of an auteur at the top of his game.