Lost Highway

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Movie
German title Lost Highway
Original title Lost Highway
Lost Highway Filmlogo.png
Country of production USA , France
original language English
Publishing year 1997
length 135 minutes
Age rating FSK 16
Rod
Director David Lynch
script David Lynch
Barry Gifford
production Deepak Nayar
Tom Sternberg
Mary Sweeney
music Trent Reznor ,
Angelo Badalamenti ,
Rammstein
camera Peter Deming
cut Mary Sweeney
occupation

Lost Highway is an American feature film directed by David Lynch that was shot in 1996 and released in theaters in 1997. The film mixes elements of film noir with elements of psychological thriller and horror film . It derives its intense effect both from an enigmatic, psychologically dense plot and from an expressive surrealistic imagery. The plot is not told chronologically and the dramaturgy has a number of confusing elements.

action

The film is roughly divided into three parts: Fred and Renée are the focus of the first part, which extends until Fred's first transformation. In the second part, Pete and Alice take the place of Fred and Renée. The third part deals with the argument between Pete / Fred and Mr. Eddy / Dick Laurent. The figure of the "Mystery Man" appears in all three parts, as do representatives of the police.

Fred and Renée

After the opening credits, which show the view of a night highway from a moving car, the film plot begins with a picture of a smoking, nervous man in a somewhat dark, but well-furnished house. While the man smokes, lost in thought, the doorbell rings. A voice says through the intercom: “Dick Laurent is dead!” Then you can hear tires screeching in the distance. When the man looks out of the window, nobody can be seen.

Shortly afterwards, we learn that the man, Fred Madison, jazz - saxophonist and is married. But the marriage between him and his wife Renée is not the best. The communication between the two seems to be disturbed: Renée lies to Fred, while Fred tries to question her suspiciously why she is not coming to his concert that evening. In addition, Fred suspects, who is unable to sexually satisfy his wife, that she is cheating on him. When he calls home during the concert, nobody answers the phone, even though Renée told him she wanted to read. When he comes home at night, Renée is asleep in bed.

One morning, the two of them find an anonymous envelope on their doorstep with an unlabeled video tape inside . They watch it together - it contains a short sequence of an exterior shot of their own home. The next morning they find another video tape that now also shows the inside of the house, including the sleeping couple. The police are consulted, but they cannot find any signs of a break-in. When a policeman asked whether the couple had a video camera , Renée replied that Fred didn't think much of them. Fred adds that he prefers to remember things his own way. When the policeman insists and wants to know what he means from Fred, Fred replies somewhat annoyed and at the same time irritated that he remembers things as he kept them in mind and not necessarily how they really happened.

The party with Andy and the "Mystery Man"

In the evening, the two go to a party of Renée's friend, Andy, whom Fred meets for the first time. At this party, Fred is approached by a mysterious man who is visually reminiscent of the figure of Mephisto (called “Mystery Man” in the credits), who claims to have met Fred before. He also says to Fred: “I'm at your home. I'm there right now. ”As evidence, he gives Fred a cell phone and asks him to dial his own number. In fact, the man who is facing Fred at the party answers the phone. Fred asks the man on the phone how he got into his house - he replies: “You invited me. It is not my way of going where I am not wanted. ”He then asks him to return the phone. The strange guest says goodbye and disappears.

Fred asks host Andy about the mysterious man, but he doesn't know him and suspects he is a friend of Dick Laurent. Fred replies spontaneously that Dick Laurent is dead after all. Andy is puzzled and says that this could not be possible. When Fred and Renée drive home, he asks them how they know the "asshole" Andy from. She implies that she met him at a club and that Andy once got her a job, but does not elaborate.

The murder of Renée

When he gets home, Fred thinks someone is in the house. But when he looks there is no one to be seen - only the phone rings twice. Later you see Renée in the house, which is only dimly lit, looking for Fred, who has suddenly disappeared. Renée, scared, calls for Fred. It is the same situation as in a dream that Fred dreamed the day before and that he told Renée after a failed sexual act.

In the next scene you can see Fred watching another video recording. Again we see the front of the house, then someone walking up the stairs and filming the bedroom. There Fred kneels over the dismembered corpse of his wife in a rush of blood. You can hear him calling his wife's name. Due to a quick cut from the video into reality, Fred suddenly sits in a police station and is hit in the face by a police officer. They think he is the murderer of his own wife, but Fred cannot remember anything and denies the act. Nevertheless, he is sentenced to death and imprisoned.

The first transformation

In prison, Fred has an unbearable headache. Visions plague him - he dreams of the Mystery Man and the drive on a deserted highway, but he also sees pictures of the murder of his wife, as well as some other pictures flooded with bright light that are difficult to see, but of a birth scene recall. Eventually Fred collapses in his cell.

The next morning, however, the guards did not find Fred in the cell, but an initially unknown young man - Pete Dayton ( Balthazar Getty ). The police release him, who has not committed a crime, after identification, but shadow him in order to track down the incomprehensible incident.

Pete and Alice

Pete goes back to work the next day in an auto repair shop, where gang boss Mr. Eddy (known to the police as Dick Laurent ) stops by to have his black Mercedes repaired. Mr. Eddy takes Pete on a joyride in which Mr. Eddy and his bodyguards brutally beat up an unknown driver because he drove too hard. Mr. Eddy brings Pete back to the workshop and offers him a video cassette that is said to have a pornographic film on it. Pete declines with thanks.

Mr. Eddy also brings him another car, a Cadillac , for repair the next day . Pete sees Mr. Eddy's beautiful friend, Alice Wakefield. Just as Pete is an exact counterpart to Fred in many ways (including being sexually potent), Alice is the counterpart to Renée (played by the same actress), from whom she is not only distinguished by her hair color (blonde instead of dark brown), but also differs by their type (charismatic and extroverted instead of introverted and tumb). Pete is enchanted by her appearance and looks after her spellbound.

Later that evening Alice comes back to the workshop alone in a taxi and wants to go out with Pete. At first he is afraid of Mr. Eddy, but he can't resist her. The two sleep together in a motel and apparently fall in love. At further meetings they plan to flee together - which seems necessary because Mr. Eddy, known for his unscrupulousness, is already suspicious.

Mr. Eddy and his friend the Mystery Man

When Pete gets home at some point, his worried parents want to speak to him about an incident that presumably happened just before Pete was found in jail; but Pete can't remember. His parents tell him that he came home that evening with his girlfriend Sheila and that an unknown man was there, but - close to tears - they don't want to tell any more. Pete suddenly shot pictures of Renee's murder in his head.

The next day, Pete meets up with Alice again at the motel. Among other things, she tells him how she got hold of Mr. Eddy. A friend offered her "a job" and asked her to see Mr. Eddy. This then forced her at gunpoint to act in porn films. Pete and Alice wonder how they can escape from Mr. Eddy, who by now knows about their relationship. Alice suggests robbing Andy and robbing his mansion - Andy is the host of the party at the beginning of the film. Renée already reported that he had given her "a job". Pete was supposed to wait in the mansion in the evening to knock Andy down while she distracted him.

When Pete comes home one last time, Sheila, his spurned girlfriend, is waiting for him and confronts him about Alice. Sheila says that something has happened to him and that he is no longer himself. At that moment, Mr. Eddy calls, who asks threateningly if Pete is okay. Then he passes the phone on to a "friend" who also wants to speak to Pete. It is the mysterious man who, like in the conversation with Fred, also tells Pete that the two have met before in his house. Pete is scared and doesn't understand what all this means.

The murder of Andy

In the evening he drives to Andy's villa, as agreed, to hide behind the bar. In the living room, a porn film with Alice in the lead role is shown on a big screen. When Andy comes downstairs, Pete knocks him out. When he regains consciousness and is about to pounce on Pete, he stumbles and rams the edge of a glass table deep into his head as he falls. Pete is appalled by this accident, but even more appalled by Alice's cold demeanor when she replies to his remark: "We killed him.": " You killed him."

While Alice is collecting all the valuables that can be found, Pete discovers a photograph on a dresser. It shows Andy, Renée, Alice and Mr. Eddy side by side. Pete asks, “Is that you? Are you both of you ?! "Alice points to the blonde woman and says:" This one is me. "

Pete suddenly gets a terrible headache. When he goes upstairs to look for the bathroom, he is haunted by a vision: He is suddenly in the long corridor of a hotel and opens the room with number 26. In it he sees Alice in the glow of red light, as she is with someone sleeps, looking at him and calling out sarcastically: “You wanted to speak to me, yes? You wanted to ask me: Why !? "Pete quickly closes the door and is back in" reality ". Downstairs, Alice threatens him with a pistol, as if trying to shoot him, but doesn't, instead making it appear as a joke ("I thought you trusted me."). The porn movie is still playing in the background.

The house in the desert and the second transformation

Pete and Alice drive into the desert to a fence who is supposed to redeem their loot. It's the same house as the one that burns brightly in one of Pete's visions. Because the house is empty, they go back to the car. Pete asks Alice why she chose him; she replies: “You still want me, don't you, Pete? More than ever before. "As they sleep together in the headlights of the car, Pete says:" I want you! "Alice whispers in his ear:" You will never get me. "She gets up, turns her back on him and goes into the house.

Suddenly Pete is Fred Madison again. The mysterious man is sitting in the car and looks at Fred, then suddenly he has disappeared and instead calls from the house: “Here I am!” Fred gets dressed and goes into the house. He asks about Alice, but the man says there was never a woman named Alice, her name is Renée. Then he asks Fred his name while pointing a video camera at him, from which Fred is fleeing. Fred runs to the car and drives along the highway until he stops at a motel, the "Lost Highway Hotel".

The murder of Dick Laurent

In a room in the motel that Fred already knows from the vision in Andy's house, the viewer sees Renée sleeping with Mr. Eddy / Dick Laurent. Fred walks past the closed door with the number 26 and takes room 25. There he watches Renée through the window as she leaves the hotel and drives away. Fred knocks on the door with number 26. When Laurent opens the door, Fred knocks him down with the gun Alice gave him and locks him in the trunk of Laurent's Mercedes, which he is driving away with. From another hotel room, the mysterious man, hidden behind a curtain, observes the events with a serious look.

Fred drives to the house in the desert. When he opens the trunk, Laurent jumps towards him, but the mysterious man who is suddenly also present hands Fred a knife with which this Laurent cuts his throat. The mysterious man gives the man who is bleeding badly a pocket TV . On the screen, Laurent can be seen kissing Renée while she and his friends watch a porn film in which Brian Hugh Warner , the front man of the band Marilyn Manson , has a short appearance. After Laurent had to return the television, he says to the mysterious man: “You and I, mister, we put all the other bastards in the shade. Is not it?"

The man doesn't answer, but kills Laurent with two pistol shots. Then he whispers something in Fred's ear - inaudible to the audience. In the next moment only Fred stands alone in front of the shot Laurent and puts the pistol in his pants.

"Dick Laurent is dead."

The police have since found Andy's body. Pete Dayton's fingerprints are everywhere. The photo on the dresser is still there, but only three people are shown: Andy, Renée and Dick Laurent. The police officer recognizes Fred's murdered wife.

Meanwhile, Fred drives Laurent's Mercedes to his own house and rings the doorbell. After a short time someone answers the intercom and Fred says the opening sentence of the film: "Dick Laurent is dead." Meanwhile, two police officers who are observing the house and Fred come running over. Fred jumps into the car and runs away. A chase begins, and the image of the night highway with which the film began appears again. Fred sits screaming at the wheel. Another transformation seems to be beginning. His head moves alternately as if in fast motion and in slow motion , he seems badly deformed. In addition, facial expression and head movements are reminiscent of the convulsions of the delinquent during an execution on the electric chair . Fred was sentenced to it after he was found guilty of the murder of Renée.

interpretation

Many interpreters of the film understand the plot from the transformation on as a hallucination of Fred in prison, who fantasizes in Pete an alter ego to make his situation bearable and to deny his guilt. Pete is the exact counterpart to Fred in many details - above all he is sexually potent and can satisfy Alice, the blonde counterpart to Fred's wife Renée. Again and again, however, the trauma of the murder also shines through in this hallucination, namely when Pete himself has visions that confront him with an event that he does not understand. For example, the music (tenor saxophone improvisation) on the radio in Pete's garage creates a severe headache - it is identical to Fred's saxophone playing in the nightclub in the first third of the film. Fred, the real Pete, denies and suppresses his guilt, which, however, returns in a symbolic way - as the secret that Pete talks to his parents about and which he cannot remember. The vision of a burning house that appears to Pete may be an indirect reminder of the murder during which a fire can be seen in the fireplace.

From a psychoanalytical point of view, Andy would then be a rival of Fred, with whom Renée cheats on him, which is why Pete kills him in the second part. According to Žižek ( SZ of April 2, 2005), Mr. Eddy / Dick Laurent represents an obscene father figure who embodies a sexual enjoyment ( jouissance ) that Fred himself is not capable of. Laurent's name already indicates this phallic dimension: "Dick" means "tail" or penis in English. As the actual owner of Alice, the father figure, Mr. Eddy, also represents an oedipal prohibition , which is why he is ultimately killed by Fred in a kind of parricide .

With regard to its overall conception, Robert Blanchet analyzes the film with reference to Žižek as a Möbius loop - as a circular structure that knows no end, although after the circular movement it does not start again from the beginning, rather a change has taken place. Georg Seeßlen describes the resumption of the opening sentence at the end of the film in a similar way :

“For Fred No. 1 the story starts all over again, for Fred No. 2 it continues on the run from police cars, but instead of into the day he races aimlessly down his 'Lost Highway' into a seemingly eternal night with the scream of one Lunatics ... The vicious circle has closed, the way out is that into eternal damnation, hell . "

Ultimately, the film is difficult to interpret conclusively, as it offers a multitude of possible interpretations. It can be read psychologically as a dream fantasy and mental image of an unfortunate saxophone player, as well as a mystery or horror film with "real" events. David Lynch said you could interpret the film, but you should n't do it, but let it work its magic. He criticizes the attitude of many viewers:

“Every single element of a film has to be understood straight away - and understood in terms of the lowest common denominator. It's a real shame. There would be so many places people could go if they weren't so tightly bound by this restriction. ”(Interview in Rolling Stone , March 6, 1997)

On the other hand, when asked if he wanted to confuse his viewers with Lost Highway , Lynch replied :

"No no. It only requires one method - it's not about confusion, but about feeling the secret . Somebody said, 'Mystery is good, confusion is bad, and there is a big difference between the two.' I don't want to say too many words about it - unless you're a poet, things often get smaller when you talk about them. But there is enough evidence for a correct interpretation, and I would very well say that in the end it is a thoroughly straightforward story in many ways. There are only a few things that are a little weird. "

Andreas Thomas interprets the film as " Faust in the Media Age", with the mysterious man taking on the role of the devilish Mephisto :

“'Lost Highway' is about hell. About hell before and after the devil's pact. From the hell of life in an 'everyday' inevitability, from the separation from life, the futility of love and isolation . The loneliness of a couple in their partnership, in their house, in the darkness of which it threatens to lose itself, which with its thick walls and loopholes-like windows is supposed to provide security, but stifles all vitality. And now the excuse for dissolution of boundaries. Fred's saxophone solo sounds like a desperate evocation of diabolical powers, and the video tape shows that the person invited is already there to help him - and to observe him. The poodle has become a surveillance camera. "

The following excerpt from an interpretation of the film by Ralf Ramge shows that a thorough analytical interpretation of the film leads far , in which some references to correspondence between the different parts of the film are listed, which reveal a very conscious directing work by Lynch:

  • “The conversation between Fred and the Mystery Man during Andy's party is essentially repeated verbatim between Pete and the Mystery Man. The same conversation at the same time?
  • Renée is woken up on the second day by a dog barking in the neighborhood. Fred wants to know who the dog belongs to - well, actually he should know, because in the shot in which Pete is lying around in the garden, you can see the dog running around in the neighbor's garden.
  • Fred and Renée's apartment is gloomy, large areas are swallowed up in the darkness, the music is threatening. Pete's world shines in a bright light, as the garden scene conveys to us. A stark contrast, like the dark and light aspects of the psyche ?
  • When Pete hears the music on the radio that Fred was playing in the bar, he can't stand it. 'Good' and 'bad' side of the psyche for the second? Especially since the music resounds at Fred / Pete's workplace - by the way, both have an encounter with Renée / Alice at this place, which is overshadowed by Laurent / Eddy. "

Ramge continues the idea of ​​a correspondence between the first and the second part:

  • “Through the events that take place in each of the two worlds, an actual chronological sequence of events can even be established. (...) Before Pete enters [Andy] s house, he takes a quick look at his watch - compare the time with the one that can be read on the clock in Fred's room in the Lost Highway Hotel. (...) In this way, through precise analysis, it is even possible to determine the exact time of Renée / Alice's death, Fred's fear of the Mystery Man's video camera, the execution of Fred in the electric chair can be seen in the film, etc. ”

Assuming that Fred was executed in prison, the rest of the film would suddenly appear as a kind of afterlife - this interpretation cannot be ruled out and, together with the other possible interpretations, causes the film's openness, which can hardly be closed which is precisely based on its charm.

Deviations from the original script

Since the original script was published as a paperback (in Germany by S. Fischer Verlag ), one can understand the deviations from the finished film. These are the main ones:

  • The police officers, who were called to the Madisons because of the disturbing video, are amazed at the camera work, as it is "as smooth as it is lubricated" and was also shot "from such a steep angle" (p. 23 f.)
  • In a long sequence, the Madisons get a third videotape that not only shows the sleeping couple - in this shot Fred wakes up and crawls around the bed on all fours, then straight into the camera with a pained face to look. Fred cannot remember what he tells the police officers (pp. 26–30).
  • Renée is déjà vu when Fred tells her to wait outside; anyone who knows the end knows that déjà vu is obvious (p. 35 f).
  • A longer passage describes the autopsy on Renée's corpse (in the finished film version only the last video tape testifies to her death); then the verdict is shown in court, as well as people talking in a clothing store about the Madison case and the death penalty itself (pp. 39–44).
  • A detailed sequence describes the execution of one of Fred's fellow prisoners on the electric chair (pp. 45–49).
  • On pages 57-69, the longest omission discusses the sudden change of identity from Fred to Pete; inside the police station, with parents and with Pete himself.
  • Some conversations with Pete's friends have been deleted (e.g. BS 74-77).
  • The most important change in content is probably the fact that Pete often seems to suddenly become invisible in the original script - in the first of these scenes Pete sees his parents smoking a joint ; when they turn to him, they do not see him (p. 92). His girlfriend Sheila also looks at him directly from time to time, but does not see him (p. 102, 117); after Pete made the phone call with Mr. Eddy revealing that he knew about Pete's fraud, his parents again cannot see Pete (p. 122).

Reviews

"[A] roller coaster ride [...] moments of 'pure' filmmaking [...] a mastery of image and sound that has not been seen / heard since Blue Velvet "

- Jonathan Rosenbaum : Chicago Reader

"With the brute use of association-laden images, noises and tones, Lynch communicates with the most personal of the individual"

- Andreas Thomas : filmrezension.de

"Ultimately leads to the enormous assumption that we may all not be in the driver's seat [...] (it is worth watching in a cinema with sensible loudspeakers)"

- Janet Maslin : The New York Times

“On the other hand, the studied painter and photo artist David Lynch is not an auteur filmmaker in the European sense [...] Because Lynch has [...] viewed all of his films as industrial products from the very beginning [... he] always wants to liberate and overwhelm open horizon and the closed form. [...] "Lost Highway" breaks on it. [...] It is the two metamorphoses: from Fred to Pete, from Pete to Fred. [...] It is precisely at these crucial moments, when the illusion has to work, that Lynch's film begins to stammer. [...] But there are also great and wonderful moments in this film, images whose beauty is immediately revealed without psychoanalytic glasses and post-modern word confetti. There are those first forty minutes of a creeping marriage hell that are among the best that Lynch has ever shot: the light as from Edward Hopper , the characters as from Kafka , the gestures and sounds as in a poem by Robert Frost . There is the still life with the small sailing ship and the blue ball in the children's paddling pool, which Pete catches looking into the neighboring garden - a snapshot of sealed time, of innocence that never comes back. And there is the unbelievable Patricia Arquette, who [...] is finally allowed to play all her Medusa magic - lady, witch, whore, girl and child; the clichés flicker across her face like lightning, and even in the embrace of men she remains untouchable, an icon of cold, unreal pleasure. "

- Andreas Kilb : The time

“Disturbing, extremely complex journey into the uncanny , which captivates the viewer using the means of mystery and horror film . A cinematic masterpiece that forces us to grapple with many contemporary issues. "

- film service

Trivia

  • Lynch reported that the opening scene of the film was taken from his life: In fact, once a man rang the doorbell and said the sentence "Dick Laurent is dead" through the intercom. When Lynch looked out the window, there was no one to be seen.
  • Four years after the film started, the wife of Robert Blake , the "Mystery Man", was murdered - a crime for which the actor was first charged in 2002 but later acquitted.
  • The influence of the film Dance of the Dead Souls ( Carnival of Souls , 1962) on David Lynch's film is discussed again and again . The Mystery Man and the undead, portrayed by Herk Harvey, are similar characters, and the lead actress shares the same rare first name (Candace) as Pete Dayton's mother. The story also shows certain relationships: the film depicts the death vision of a woman who died in a car accident and who dreams of being followed by the dead and drawn into their world.
  • The sound design for Lost Highway comes from David Lynch himself , as in some of his other films .
  • The shooting of the film with a budget of 15 million US dollars began in September 1995, among other things in Barstow and Los Angeles , California and in Chapel Hill , North Carolina in the United States and was completed in February 1996th
  • Lost Highway hit French theaters on January 15, 1997, US theaters on February 21, 1997, and German theaters on April 10, 1997 . The film only grossed around 4 million US dollars in the USA. Worldwide he brought in a box office income of around eight million US dollars.
  • The film is a co-production by Asymmetrical Productions , CiBy 2000 , Lost Highway Productions LLC and October Films distributed by Senator Film (Germany).
  • Olga Neuwirth and Nobel Prize Laureate Elfriede Jelinek have prepared Lost Highway as an opera . It premiered on October 31, 2003 in Graz .
  • Henry Rollins of Black Flag is seen as a prison guard, Scott Ian , rhythm guitarist for Anthrax , mimes a prisoner.
  • Brian Hugh Warner , the singer of the band Marilyn Manson , the bassist Twiggy Ramirez and the German porn actress Dru Berrymore can be seen as porn stars in supporting roles.
  • The rock group Rammstein received international attention through the use of two songs ( Rammstein and Heirate mich from the album Herzeleid ) in the soundtrack. The songs were added to the soundtrack by Lynch at short notice when he received a CD from the band's record company, actually connected with the request whether he would like to join the still unknown German group - the musicians were fans of David Lynch - to shoot a video. In a Spiegel interview, Lynch later reported that the entire film crew was crazy about the music. The band therefore had to send 70 CDs - one for each crew member.

Soundtrack

The soundtrack was produced by Trent Reznor . The list of the official soundtrack is:

  1. David Bowie - I'm Deranged
  2. Trent Reznor - Videodrones; Questions
  3. Nine Inch Nails - Perfect Drug
  4. Angelo Badalamenti - Red Bats With Teeth
  5. Angelo Badalamenti - Haunting & Heartbreaking
  6. The Smashing Pumpkins - Eye
  7. Angelo Badalamenti - Dub Driving
  8. Barry Adamson - Mr. Eddy's Theme 1
  9. Lou Reed - This Magic Moment
  10. Barry Adamson - Mr. Eddy's Theme 2
  11. Angelo Badalamenti - Fred & Renee Make Love
  12. Marilyn Manson - Apple of Sodom
  13. Antônio Carlos Jobim - Insensatez
  14. Barry Adamson - Something Wicked This Way Comes
  15. Marilyn Manson - I Put a Spell on You
  16. Angelo Badalamenti - Fats Revisited
  17. Angelo Badalamenti - Fred's World
  18. Rammstein - Rammstein (Edit)
  19. Barry Adamson - Hollywood Sunset
  20. Rammstein - Marry Me (Edit)
  21. Angelo Badalamenti - Police
  22. Trent Reznor - Driver Down
  23. David Bowie - I'm Deranged (Reprise)

Not included on the official soundtrack: This Mortal Coil - Song to the Siren

literature

Web links

Wikiquote: Lost Highway  Quotes

Individual evidence

  1. ↑ cf. for example: Slavoj Žižek , review. In: Süddeutsche Zeitung , April 2, 2005
  2. ↑ a b Robert Blanchet: Circulus Vitiosus. Searching for clues on David Lynch's Lost Highway with Slavoj Žižek , cinetext .
  3. ↑ a b Georg Seeßlen: Review in the film headquarters .
  4. ↑ a b Andreas Thomas: Review in the Filmzentrale .
  5. ↑ Ralf Ramge: Analysis at Retro-Park.de retro-park.de , link no longer available.
  6. ↑ Jonathan Rosenbaum: Splitting Images. In: Chicago Reader. 1997, accessed on January 27, 2009 (English): "a [...] kind of roller-coaster [...] moments of" pure "filmmaking [...] mastery of sound and image on display here hasn't been seen or heard since Blue Velvet "
  7. ↑ Janet Maslin : Lost Highway (1997) - Eerie Visions With a Mood Of Menace. In: The New York Times . February 21, 1997, accessed on January 27, 2009 (English): “Eventually it raises the overwhelming possibility that nobody is entirely in the driver's seat. [...] (It's worth the extra trouble to see this film in a theater with decent speakers.) "
  8. ↑ Andreas Kilb : With "Lost Highway" David Lynch returns to the world of his early films - and stops halfway. In: Die Zeit , No. 16/1997
  9. ↑ Lost Highway. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  10. ↑ Paulhofer: My traffic light was red . In: Der Spiegel . No. 15 , 1997 ( online interview).