Blue Velvet (film)
| Movie | |
|---|---|
| German title | Blue Velvet |
| Original title | Blue Velvet |
| Country of production | United States |
| original language | English |
| Publishing year | 1986 |
| length | 116 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | David Lynch |
| script | David Lynch |
| production | Fred C. Caruso |
| music | Angelo Badalamenti |
| camera | Frederick Elmes |
| cut | Duwayne Dunham |
| occupation | |
| |
Blue Velvet ( Eng .: "Blue Velvet"; alternative title: Blue Velvet - Forbidden Views ) is an American feature film from 1986 . Directed by David Lynch , who also wrote the script. The film can be assigned to the genres of thriller , surrealist film and modern film noir . It tells the story of college student Jeffrey Beaumont, who is led beneath the surface of an idyllic American small town and there is confronted with violence, corruption and sadomasochistic sexual practices.
The film met with a positive response after its release, but it also sparked controversy and even demonstrations. Today the film has achieved cult status.
action
Because his father sustained a vertebral fracture, the young Jeffrey Beaumont took a few weeks' leave from college and returned to his hometown, the peaceful little town of Lumberton . Flowers bloom in front of gleaming white garden fences, the firefighter waves happily as he drives past.
On the way back from the hospital where Jeffrey was visiting his father, the student finds a cut off human ear in a meadow. He hands it over to Detective John Williams at the local police station. Because of the ongoing investigations, he does not want to tell him anything about the state of knowledge and asks him to remain silent about the matter. Jeffrey then decides out of youthful curiosity to investigate the case on his own.
Sandy, the daughter of John Williams, leads him on the trail of the nightclub singer Dorothy Vallens. Jeffrey disguises himself as an exterminator and thus gains access to their apartment. While Dorothy is distracted by a man in a yellow jacket, he steals her apartment key. He enters her apartment with the key and hides in the closet when Dorothy unexpectedly returns. She spots him and wants to sleep with him, but drives him back into the closet when there is a knock on the door. In the closet, he witnesses how Frank Booth performs a sexualized ritual on Dorothy and learns that Frank has kidnapped Dorothy's husband and child and is holding them captive. The ear Jeffrey found is from Dorothy's husband.
Jeffrey decides to find out more about the kidnappers of Dorothy's family. He shadows Frank and his henchmen and takes photos of them. The man in the yellow jacket also reappears. A drug dealer is murdered nearby, and Frank's accomplices appear to be to blame. Jeffrey goes to Dorothy and sleeps with her. It turns out that she has masochistic needs. When he steps out the door, he meets Frank and his companions. They force him and Dorothy to get into their car. You pass an establishment where Dorothy apparently visits her kidnapped son briefly in the next room. Frank and his equally unpredictable comrades intimidate the two completely. At the end of the ride, Frank beats Jeffrey up and leaves him lying somewhere outside Lumberton.
When Jeffrey wakes up the following day, he goes to Sandy's father, the policeman, to tell him about his experiences and to show him the photos of Frank and his men. The man, who always wears a yellow jacket, turns out to be a colleague of the police inspector. He later goes to a party with Sandy where they confess their love. After the party, Sandy's ex-boyfriend pursues the couple and stops them at Jeffrey's house. When he tries to confront Jeffrey, they see Dorothy standing naked, injured and crying in the garden in front of the house. Jeffrey and Sandy drive Dorothy to Sandy's parents' house and call the ambulance.
Jeffrey goes to Dorothy's apartment one more time and finds Dorothy's husband, who has been tortured to death, and the seriously injured policeman in a yellow jacket. When he wants to leave, he sees Frank coming. With the policeman's gun, he hides in the closet again and shoots Frank when he discovers him. After that, calm returns to Jeffrey's life. He is in a relationship with Sandy, and Dorothy is reunited with her child.
History of origin
"It started with the song Blue Velvet by Bobby Vinton , released 1964th It was through the song that I came up with the idea of the secret that was hidden behind the facade of a quiet small town, ”remembers David Lynch, who then came up with more and more ideas from which a framework for a story was formed. Vinton's pop song climbed to number one on the US charts and became his most internationally known piece.
It took some time for the story to work, however, and Lynch wrote four script drafts over several years. Even before he started working on his first feature film, Eraserhead, in the early 1970s, he finally managed to create a version that was - from his point of view - cinematic. However, the young director could not find a producer who was willing to invest in this absurd story.
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So the project was on hold, and Lynch first directed The Elephant Man and the science fiction film The Desert Planet , which was financed by the largely independent producer Dino De Laurentiis . De Laurentiis had got on well with Lynch during their joint work and finally enabled him to realize Blue Velvet , not least because he sensed the opportunity in the story to benefit from the audience success of equally existentially profound films such as The Outsider (1983) or Rumble Fish (1983) by Francis Ford Coppola .
Filming was scheduled to start in January 1985. But it soon became apparent that there was not enough money, which is why de Laurentiis suggested Lynch cut his salary and budget. In return, he gave him artistic control. Lynch accepted and was given the artistic freedom that was important to him, the right to the final cut and the promise that the producers would no longer interfere.
When casting the characters, Lynch had three specific actors in mind: Helen Mirren or Hanna Schygulla as Dorothy Vallens and Val Kilmer as Jeffrey Beaumont. However, when Schygulla declined after reading the script and Lynch made the acquaintance of Isabella Rossellini at a reception in New York , he asked her to accept the role. She read the script over one night and immediately informed him that she would be happy to take on the role. So Helen Mirren was out of the game. Kilmer, like Schygulla, rejected the script because of "pornographic scenes". Lynch ended up choosing Kyle MacLachlan , who he had worked with on Dune - The Desert Planet . Lynch in retrospect: “I think he's perfect for the Jeffrey role because there's something innocent about him. He's also curious. "
Filming began on February 10, 1986 and continued through April 22, 1986. The film was shot in the studio complex of Dino de Laurentiis' production company in Wilmington, North Carolina. “There was at most one sound film studio, and he [de Laurentiis] had new ones built in no time at all,” Lynch recalls in an interview. “A concrete foundation, four walls pulled up and a lid on. (...) You really couldn't call them sound film studios. But we got one that wasn't too bad for Blue Velvet . Dinos company wanted to go public, we were the smallest production, so they didn't need to pay any attention to us. We felt completely free. ”The production cost ended up being 6 million US dollars.
Staging
Colours
In Blue Velvet, David Lynch plays very strongly with colors, especially blue, red and white. The dark blue velvet curtain at the beginning of the film reveals an idyllic small town in which it shows a bright blue sky, an overly white garden fence and magnificent red roses. These three colors can also be found in the flag of the United States of America, and the conclusion is obvious: This small town may represent many American small towns or the entire country. This color triangle runs through the entire film, but works and works best at the beginning and at the end: “ The red of the roses in front of the house, of the blood, of the woman's lips; the blue of the sky, the velvet curtain, the night, Dorothy's eyelids; the whiteness of the garden fence, the clothes of Sandy, the light. “Sandy and her light color variations also stand for the innocent, the pure. Another color aspect of this postcard idyll is the fact that the yellow of some roses creates a kind of warning signal. Like a traffic light that clears the way for diving below the surface of this supposed idyll: red, yellow, green.
At the beginning of the film, Jeffrey's surroundings are largely "bluish", for example he drives a red car with white seats when he picks up Sandy from school. At the latest in this scene it becomes clear that “ the blue is still missing in him, the experience of the night ”. Dorothy has been associated with blue from the start, and when she finally approaches Jeffrey in her velvet blue dressing gown, the college student's confrontation with "the underworld and sexuality" has begun. The film title Blue Velvet can therefore also be understood as a metaphor: “ Velvet is a term for money and wealth; blue velvet means the money that is made in the night, the money that is earned with passion and sexuality. "
symbolism
In addition to the colors, Lynch in Blue Velvet also symbolically charges other things. When at the end of the first scene the camera dips down, drives into the ground under the lawn and films frolicking " monsters, the beetles and reptiles ", then it becomes clear to the viewer that this is the sign of Jeffrey's upcoming "journey into hell". Small, greasy insects as a symbol of the coming underworld for Frank and Dorothy. The insect motif is still used throughout the film. Frank's head in the inhalation mask looks like an insect's head, the ear Jeffrey finds is covered with insects, and in the final scene of the film, an American bluebird has an insect in its beak. The traveling thrush itself symbolizes the triumph of love over evil, over the underworld.
The severed ear that Jeffrey found is also symbolically charged. It represents the beginning horror for Jeffrey; it shows him the way into the underworld (which is made clear by a tracking shot into the ear), on the other hand this cut off ear is “ the plastic symbol of the absolute surrender [...] in which Dorothy's husband is ”. “ As a result of the kidnapping, his ego limit shrinks to the outside of his body, everything else is taken from him, like every kidnapping victim. His world is completely taken over by Frank Booth, he is completely under his influence. “And at the latest when the camera pokes out of Jeffrey's ear at the end of the film, the viewer knows that the journey into hell is over.
Soundtrack
What is particularly noticeable is the repeated occurrence of older pop songs in the film. The song Blue Velvet not only gave the title, but also appears in the original version by Bobby Vinton as well as in a new version sung by Isabella Rossellini in the film. Although a love song, according to Lynch's color symbolism, the blue symbolizes the danger that lies dormant in the underworld of this small town. It is not for nothing that Dorothy Blue Velvet sings in the night club and wears a blue nightgown when Frank is sexually humiliated by Frank, from which Frank later tears pieces and takes them with him. In addition to Blue Velvet , Roy Orbison's song In Dreams (“Candy Colored Clown”, 1964) also plays an important role: It is Frank Booth's favorite song and is performed by the effeminate drug dealer Ben as a lip-sync . Later, Jeffrey is beaten up by Frank to the sound of In Dreams - Frank appears like an evil nightmare, like an evil sandman . Frank also promises Jeffrey to send him a "love letter" if he doesn't stay away from Dorothy - with love letters, Frank means that he would kill Jeffrey. When Jeffrey later comes into the apartment, in which Dorothy's killed husband, apparently killed by Frank, lies, the song Love Letters by Ketty Lester is heard . In this murder, Frank sent a "love letter".
Blue Velvet , Love Letters and In Dreams are all older pop songs and come from the 1950s and early 1960s. They fit into the seemingly harmless Lumberton, in which - although the film is set in the present day, the 1980s - time has apparently stood still a bit. They are actually positive and romantic love songs, but Frank turned them into evil and perverted them.
The composer Angelo Badalamenti was responsible for the soundtrack in Blue Velvet , who also made a cameo in the film as a pianist in the nightclub. David Lynch asked Badalamenti that the music should be "like Shostakovich , very Russian, make it extremely beautiful, but also dark and a bit scary." Lynch and Badalamenti wrote the song Mysteries of together as the song for the love affair between Sandy and Jeffrey Love .
Themes and motifs
Violence / sadism
In Blue Velvet , the endangerment of the idyll, the normality (of the system) is addressed by a single figure. It is the psychopath Frank Booth who threatens this system and in particular the family subsystem. It is the opposite of the peaceful, bourgeois, family-oriented system; he is violent and sadistic. “ The endangerment of the system from him is particularly serious because he also entangles his victims in the game of violence and the lust for it like a virus. “Jeffrey, the hero, and Dorothy are at first involuntary victims of this lustful violence, but are finally attacked by it themselves. A fault-free system was only restored after Frank's death - whether it will last is another question. Despite the possibility that the exaggerated depiction of the healed system could only be a sham, the film maintains that “ a system stabilization occurs through the elimination of a dangerous individual. "
When Jeffrey hides in the closet and watches Frank during his sexual act of violence with Dorothy, it is pure voyeurism . This voyeuristic perspective of the college student in turn makes the viewer's own position as a voyeur clear. Grimm also says: “ This prevents conventional and direct consumption of this violence scene. Finally, the scene in Blue Velvet serves as an example of a stylized depiction of violence , in which Jeffrey meets the shot Gordon or Man in Yellow with the murdered Don Vallens in Dorothy's apartment. Through the arrangement of figures and the grotesque demeanor of Gordon, the scene of violence, at the latest when relaxing extradiegetic music sets in, appears stylized and thus 'defused'. "
Oedipal constellations
The film depicts several oedipal constellations through a very complex relationship between the various characters .
The various oedipal constellations are mainly expressed in the complex sequence in Dorothy's apartment when Frank rapes Dorothy and Jeffrey watches him. Jeffrey plays the part of the absent son for Dorothy, who sleeps with the mother and ends up shooting the father (Frank). Furthermore, Jeffrey returns to Lumberton not only to visit his father in the hospital, but to take over his business, indirectly taking his father's place. Frank himself also takes a seat, on the one hand that of Dorothy's husband Don, by 'neutering' him by cutting his ear, on the other hand he sees himself as Dorothy's son (“ Baby wants to fuck ”). So he's father and son (Don and Donny) at the same time, which probably explains the fact that they have the same first name. He also says to Jeffrey at one point in the film: " We are both the same ".
When Mike, Sandy's ex-boyfriend, tries to attack Jeffrey, the naked, obviously raped Dorothy suddenly appears. Mike's first reaction: “ Who is that, your mother? “Another scene that points to this Oedipus constellation.
Dream motifs
The setting of Lynch's film shows striking contrasts that are developed in the course of the film in such a way that a structural similarity to dream landscapes is obvious.
According to one interpretation, Lumberton is an 'unstable' place that contrasts elements from the small town with those from the big city. In the course of the film, the place, initially presented as a small town, expands. Dorothy's tenement, as a block of flats with at least seven floors, the large police station and the extensive industrial and factory grounds hardly fit into the small-town environment initially shown. Nor does anyone in Lumberton seem to know Jeffrey and his father, even though he is doing a good business. Jeffrey and Sandy only get to know each other because of the circumstances, despite being neighbors. The Germanist and film scholar Maurice Lahde concludes: “ In the supposedly small town, urban anonymity prevails, its residents do not know each other and are not interested in one another. "
The scenes of Blue Velvet are not 'real' places that are presented to the viewer on film, “ but places that are 'generated' with the first shot and develop from picture to picture. “These landscapes are then populated with very strange, bizarre and also deformed characters, for which Lynch pays attention for a short time before he then lets them fall again and ultimately disappear. This element can be found in every Lynch film. Deputy Gordon is one of those characters in Blue Velvet . He is still standing upright with a fatal head injury, making him look extremely grotesque. Even the blind man, who stands rigid under a tree in Jeffrey's first night walk in Blue Velvet , is depicted as completely immobile and thus achieves the same effect.
Lahde also writes: " If one regards the lack of narrative logic as an essential characteristic of dreams, all David Lynch films can be described as typical dream narratives: the actions are almost always interspersed with logical breaks and implausible sprinkles ." Thus, Blue Velvet lacks before especially in the last thirty minutes of any narrative logic.
reception
Publication and reviews
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When Blue Velvet hit theaters in the United States on September 19, 1986, American critics were enthusiastic (92% of the reviews on Rotten Tomatoes are positive).
Janet Maslin of the New York Times , who voted the film into the list of the 10 best films in 1986, was very impressed by Blue Velvet and particularly praised the acting performances of Dennis Hopper and Isabella Rossellini. She called the film " an instant cult classic ". And Sheila Benson of the Los Angeles Times said the film was the most brilliant disturbing film that has ever played in a small American town. She also wrote that Blue Velvet was " terrifying and visionary ". In the Chicago Tribune on September 19, 1986, Gene Siskel was of the opinion that the film was a powerful, mesmerizing thriller that was a master at captivating the viewer to the big screen. The critic James Berardinelli also praised the film as Lynch's best work to date and gave Blue Velvet four stars out of four. Roger Ebert was one of the few critics who rated the film negatively and was disgusted by the sex and violence scenes.
Despite these mostly positive reviews in the United States, the film was heavily criticized from various quarters. Because of the scenes between Dorothy and Frank , Blue Velvet was accused of violating the dignity of women and of drawing a " misogynous image of women who only know the polarity of saints or whores ".
Feminist filmmaker Lizzi Borden defended Lynch's film in an article in The Village Voice . She wrote: “ For me, Blue Velvet is one of the most impressive and intelligent films in recent years. […] The grotesque things in Blue Velvet […] are presented in a clinical rather than a blood-spattered way. This is Dalí and Buñuel , not Cronenberg or Peckinpah . I suspect that people actually get upset about the sexual violence - the sadomasochistic practices that the film explores. Lynch manages ingeniously to let us experience the dangerous thrill of forbidden sex. The amazing thing about the scene in which Jeffrey hits Dorothy is the variety of emotions this moment arouses in him - and in us. "
The Venice Film Festival under the baton of Gianluigi Rondi refused to show the film because it " the reputation of the great Roberto Rossellini defile ". The “polluter”, his daughter Isabella Rossellini, did not reproach herself and defended the film once more. There was also a controversy during the premiere in London: a demonstration against the film and its portrayal of women took place in front of the cinema. Lynch in an interview how he feels about the criticism of the film's content: “Something like that is harmful. Let's not fool ourselves. When you get to know the author of one of these articles, you can tell where the dog is buried. You can see how he thinks and what kind of person it is. Then you know where the judgment comes from and it no longer burdens you so much. Not that you don't respect these people, but you understand that they can't like a movie like this. But you don't meet everyone and rhyme something. Where has the constructive criticism gone? Nowadays there are only criticisms or hymns of praise, and you can get to the next one. "
The film opened in the Federal Republic of Germany on February 12, 1987. As in the United States, the critics were enthusiastic. Franz Everschor from film-dienst came to the following conclusion: "An ambiguous film that, in its blatant penetration into dark human abysses, deals with the questionable nature of traditional worldviews". Dennis Hopper played the psychopath so incredibly believable that you get scared of him, said Stephen Locke from epd Film . He also praised the " relentless commitment " of the actors and Lynch's personal narrative style. Even Hellmuth Karasek the mirror raised Isabella Rossellini representation Dorothy out positively and compared them with her mother Ingrid Bergman . Claudius Seidl from the Süddeutsche Zeitung believed that the director inflated his symbols with meaning until they burst. “ The splinters hit directly in the eye of the viewer. Lynch is blowing the usual cinema signs by storm and overruns all our defensive positions ”, it says below. Blue Velvet is so disturbing because the director does not act as a secret ally, but as a declared opponent of the viewer. Seidl came to the conclusion that “ the loneliness of the moviegoer ” is what upsets the viewer.
Despite the positive reviews in the United States and Germany, the audience stayed away, but this did not prevent the film from becoming a cult film. Fischer even writes: “ The new cult film of the eighties was born. "
interpretation
Like many of David Lynch's films, Blue Velvet allows completely different interpretations. Several of these different interpretations are presented here.
For example, the film was interpreted as a Jeffrey's daydream, whose father hovers between life and death, or as the dream of the hospitalized father himself. Georg Seeßlen justified the second variant as follows: “ [The father], who in a bizarre reconstruction of the oedipal Structure his “ghost” Frank on his no less ghostly wife, Dorothy, in order to frighten or even to hurt the son who willingly takes over his job in the garden and in the shop. “Also considered was the idea that the whole plot was just a staging of the police, since only a naive like Jeffrey could do a kind of educational work that the police, in their network with the evil one, were not capable of. " In the final scenes, you might even get the idea that the police deliberately brought Jeffrey and Frank into confrontation (even by being unavailable at the right time) in order to force Jeffrey to shoot Frank, Frank, the symbolic presidential killer, Frank, the ghost of the fifties ”.
Slavoj Žižek's interpretation goes in a completely different direction: “ He [Žižek] starts from the depression of the woman who may have lost her real husband (or even her real child). Everything is possibly a staging to keep Dorothy from sinking into complete depression. "
Seeßlen also analyzes and interprets the sequence between Dorothy and Frank in the apartment: “ First impression: a man finds pleasure in the humiliation of a woman and in a frenzied sequence of changing roles between baby and man. Second impression: But maybe this man is only staging this game because the woman loves it, because this is the only way he can make her happy. Third impression: Possibly this man and this woman are staging the scene for the boy in the closet; by being watched, they find happiness together. Fourth impression: The viewers, who have played through all three possibilities, recognize their own involvement in the simultaneous play of families and sexuality, of violence and gaze. "
With regard to the ants that attack the cut ear found by Jeffrey in the meadow, director David Lynch draws motivic parallels to the surrealist film An Andalusian Dog by the filmmaker Luis Buñuel and the painter Salvador , based on the interpretations offered by some film critics Dalí from 1929. Ants that attack a human hand also appear in the Andalusian dog . For Lynch, the severed ear represents a metaphorical gateway into another strange world. Regarding the nude scenes in the film, which according to actress Isabella Rossellini are deliberately not intended to be erotic and beguiling, actress Rossellini compares the film recordings of her role Dorothy Vallens when they are completely is naked, in its rawness and brutality with the paintings of the British painter Francis Bacon , because after all, Dorothy is a raped and humiliated woman. Nudity as something repulsive. Rossellini is thinking specifically of those pictures by the painter in which the artist Bacon depicts slaughtered, cut cow halves, such as his painting entitled Figure with Meat from 1954. In his childhood, David Lynch happened to meet a naked woman on the street with his brother who suddenly crossed the boys' path, whereupon Lynch and his brother were frightened and began to cry. Director Lynch let this experience flow atmospherically into the scene in which Dorothy stands in the darkness completely naked and injured in front of the white house of Jeffrey's family. "David's story reminded me of Nick Út's photo of the girl burned to death in a napalm attack in Vietnam : she's walking down the street naked, a gesture of helplessness. At that moment, Dorothy is broken. She's at the bottom," said actress Isabella Rossellini in the 2002 documentary Mysteries of Love , which is included in the bonus material on the Blue Velvet DVD .
Awards
Blue Velvet has received a total of 22 film prizes, such as the Los Angeles Film Critics Association Award or the National Society of Film Critics Award, and has been nominated for 12 others, including David Lynch for the Oscar for best director. The following list gives an overview of the various awards and nominations.
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synchronization
The German dubbed version was recorded by Interopa Film GmbH Berlin . Mina Kindl was responsible for the dialogue book and the dialogue direction.
| role | actor | Voice actor |
|---|---|---|
| Jeffrey Beaumont | Kyle MacLachlan | Pierre Peters-Arnolds |
| Sandy Williams | Laura Dern | Evelyn Marron |
| Dorothy Vallens | Isabella Rossellini | Susanna Bonaséwicz |
| Frank Booth | Dennis Hopper | Joachim Kerzel |
| Mrs. Williams | Hope Long | Bettina Schön |
| Detective John Williams | George Dickerson | Hans-Werner Bussinger |
| Ben | Dean Stockwell | Peter Fitz |
| Mrs. Beaumont | Priscilla Pointer | Christel Merian |
| Aunt Barbara | Frances Bay | Tilly Lauenstein |
| Mike, Sandy's friend | Ken Stovitz | Nicolas Boell |
| Paul, Frank's henchman | Jack Nance | Hans Nitschke |
| Raymond, Frank's henchman | Brad Dourif | Michael Christian |
| Coroner | Peter Carew | Karl-Ulrich Meves |
| Announcer in the night club | Jean Pierre Viale | Ivar Combrinck |
literature
Secondary literature
- Michael Atkinson: Blue Velvet, British Film Institute, London 1997, ISBN 0-85170-559-6 .
- Youri Deschamps: Blue Velvet. David Lynch. Éditions du Cèfal, Liège 2004, ISBN 2-87130-123-9 .
- Georg Seeßlen : David Lynch and his films. Schüren, Marburg 2003, ISBN 3-89472-345-9 .
- Chris Rodley (Ed.): Lynch on Lynch. Publishing house of the authors, Frankfurt am Main 1998, ISBN 3-88661-200-7 .
- Eckhard Pabst (ed.): A Strange World - The Universe of David Lynch. Ludwig, Kiel 1998, ISBN 3-9805480-6-6 .
- Robert Fischer : David Lynch - The dark side of the soul. Heyne, Munich 1997, ISBN 978-3-453-05240-6 .
- Hans-Joachim Neumann: Blue Velvet. In: Encyclopedia of Fantastic Films. Volume 1: Films AB. Corian, Meitingen 1986-2010, ISBN 978-3-89048-400-6 , pages 1-10.
- Helen Donlon: David Lynch. Schwarzkopf & Schwarzkopf, Berlin 2008, ISBN 978-3-89602-801-3 .
Reviews
- Franz Everschor : Blue Velvet . In: film-dienst 4/1987. Page 89
- Stephen Locke: Blue Velvet . In: epd film 2/1987. Page 30
- Claudius Seidl : The loneliness of the moviegoer - Blue Velvet, a horror film by David Lynch . In: Süddeutsche Zeitung of February 13, 1987. Page 35
- Hellmuth Karasek : Night drive through the American daydream In: Der Spiegel 7/1987. Page 176–177
- The German Film and Media Evaluation FBW in Wiesbaden awarded the film the title valuable.
Web links
- Blue Velvet in the Internet Movie Database (English)
- Blue Velvet atRotten Tomatoes(English)
- Blue Velvet in the online film database
- Review by A. Thomas (filmzentrale)
- Jerome Philipp Schäfer: The opening sequence of David Lynch's "Blue Velvet"
Individual evidence
- ↑ Release certificate for Blue Velvet . Voluntary self-regulation of the film industry , October 2004 (PDF; test number: 57 509-a V / DVD).
- ↑ a b Fischer: David Lynch - The dark side of the soul p. 136
- ↑ a b c d e German DVD : Blue Velvet , Specials - Documentation Mysteries of Love
- ↑ Donlon: David Lynch p. 72
- ^ Neumann: Blue Velvet . In: Encyclopedia of Fantastic Films. Volume 1 (Films AB) p. 5
- ^ Neumann: Blue Velvet . In: Encyclopedia of Fantastic Films. Volume 1 (Films AB) p. 6
- ↑ a b Fischer: David Lynch - The dark side of the soul p. 109
- ↑ Rodley: Lynch on Lynch, p. 183
- ^ Trivia for Blue Velvet. In: Internet Movie Database . Retrieved October 5, 2010 .
- ↑ Rodley: Lynch on Lynch, p. 182
- ↑ a b Seeßlen: David Lynch and his films p. 80
- ↑ a b Stephen Locke: Blue Velvet . In: epd film 2/1987. P. 30
- ↑ Seeßlen: David Lynch and his films p. 82
- ↑ a b Seeßlen: David Lynch and his films p. 81
- ^ A b Claudius Seidl: The loneliness of the moviegoer - Blue Velvet, a horror film by David Lynch . In: Süddeutsche Zeitung of February 13, 1987. p. 35
- ↑ a b Hellmuth Karasek: Night trip through the American daydream In: Der Spiegel 7/1987. P. 177
- ↑ In the German dubbing, robins are used instead of migrating thrushes. This is a translation error, the original name "robin" not in the sense of North American meaning "Robin," but in the sense of the Eurasian-African importance "robin" (translated word "robin" in "the free dictionary". Retrieved on April 20, 2015 . )
- ↑ Atkinson, Michael: Now It's Dark: The Child's Dream in David Lynch's Blue Velvet, ”The Fatal Woman: Sources Of Male Anxiety In American Film Noir . Madison: British Film Institute, 1997. pp. 144-155. ISBN 0-671-64810-1 .
- ↑ Seeßlen: David Lynch and his films p. 83
- ↑ a b Bähr, Ulrich: Artistic freedom and destructive power in: A Strange World - the universe of David Lynch p. 185
- ↑ a b She Wore Blue Velvet ( Memento from May 8, 2017 in the Internet Archive )
- ↑ Michael Chinon: "Blue Velvet". British Film Institute, London: 89, 1995
- ↑ a b Grimm, Petra: Narrative strategies of violence in: A Strange World - the universe of David Lynch p. 115f
- ↑ a b Grimm, Petra: Narrative strategies of violence in: A Strange World - the universe of David Lynch p. 120
- ↑ a b Fischer: David Lynch - The dark side of the soul p. 125
- ↑ Fischer: David Lynch - The dark side of the soul p. 128
- ↑ a b c Lahde, Maurice: David Lynch's films as dream experiences in: A Strange World - the universe of David Lynch p. 99
- ↑ a b Lahde, Maurice: David Lynch's films as dream experiences in: A Strange World - the universe of David Lynch p. 100
- ↑ Lahde, Maurice: David Lynch's films as dream experiences in: A Strange World - the universe of David Lynch p. 102
- ↑ a b c Blue Velvet. In: Rottentomatoes. Retrieved October 5, 2010 .
- ↑ a b Blue Velvet at Metacritic , accessed March 13, 2015
- ↑ Blue Velvet. In: Internet Movie Database . Retrieved July 12, 2013 .
- ↑ Janet Maslin : Blue Velvet, Comedy of the Eccentric. In: The New York Times . Retrieved November 17, 2010 .
- ^ Sheila Benson: Blue Velvet (1986). In: Metacritic (citing LAT article). Retrieved November 17, 2010 .
- ^ Gene Siskel: Critics for Blue Velvet. In: Metacritic (cited Chicago Tribune article ). Retrieved November 19, 2010 .
- ↑ James Berardinelli: Review: Blue Velvet. In: Reelviews . Retrieved November 19, 2010 .
- ^ Roger Ebert: Blue Velvet. In: rogerebert.com. Retrieved November 19, 2010 .
- ↑ Fischer: David Lynch - The dark side of the soul p. 134
- ↑ Borden, Lizzi quoted in: David Lynch - The dark side of the soul p. 134f.
- ↑ a b Fischer: David Lynch - The dark side of the soul p. 135
- ↑ Rodley: Lynch on Lynch, p. 203
- ↑ David Lynch quoted in: Lynch on Lynch p. 203
- ^ Franz Everschor: Blue Velvet . In: film-dienst 4/1987. P. 89
- ↑ a b Seeßlen: David Lynch and his films p. 90
- ↑ Seeßlen: David Lynch and his films p. 91
- ↑ Seeßlen: David Lynch and his films p. 94f
- ↑ Video interview with director David Lynch, documentary film Mysteries of Love (chapter The Pathfinder ), producer and director: Jeffrey Schwarz, 71 minutes, 2002, included in the bonus material of the DVD Blue Velvet , Twentieth (20th) Century Fox (Home Entertainment Germany), Frankfurt am Main + Metro-Goldwyn-Mayer (MGM) + Cine-Project
- ↑ Video interview with actress Isabella Rossellini, documentary film Mysteries of Love (Kapitel He, Nachbar! ), Producer and director: Jeffrey Schwarz, 71 minutes, 2002, included in the bonus material of the DVD Blue Velvet , Twentieth (20th) Century Fox (Home Entertainment Germany) , Frankfurt am Main + Metro-Goldwyn-Mayer (MGM) + Cine-Project
- ^ Awards for Blue Velvet. In: Internet Movie Database. Retrieved November 24, 2012 .
- ↑ a b Blue Velvet in the German synchronous file . Retrieved March 7, 2009