Lost Highway

(USA 1997)

I watched David Lynch’s Lost Highway on my iPad on an Amtrak train from Chicago to Rochester. The one thing I strongly recommend is that it be viewed on the big screen, or at the very least on a flatscreen television. Quite simply, the visuals here are far too beautiful to see in an abridged format. And frankly, the visuals—sets, colors, costumes, actors, props—are the best part of the film.

The second thing I recommend is that it be watched under the influence of something—booze, pot, or better yet, prescription drugs.

This begs a question I’ll just answer: Lost Highway is fucked up—thrillingly so. The whole things starts with a videotape of our unlucky hero, saxophonist Fred Madison (Bill Pullman), murdering his wife (Patricia Arquette), who in an alternate universe is having an affair with Madison’s younger alterego, Pete Dayton (Balthazar Getty). The married couple has no memory of this murder. Neither party seems aware of this wrinkle in time and space, either. The connection lies with two people: demanding gangster Mr. Eddy (Robert Loggia) and creepy-ass flour-faced Robert Blake in what must be his most frightening role as The Mystery Man, a pallid ghost straight from a silent movie or a video by The Cure.

Lost Highway isn’t my favorite David Lynch film. However, it’s intriguing and vague enough to keep me thinking about it. I’m not sure what to make of this one—but I’m also not sure I care enough to do the work to figure it out. Maybe someday, definitely not today. The star cameos are enough for now.

Interesting fact: Lost Highway features the final film performances of Blake, Jack Nance, and Richard Pryor. Who knew?

With Alice Wakefield, John Roselius, Lou Eppolito, Henry Rollins, Mink Stole, Gary Busey, Lucy Butler, Giovanni Ribisi, Marilyn Manson, David Lynch

Production: October Films, CiBy 2000, Asymmetrical Productions, Lost Highway Productions LLC

Distribution: October Films (USA), Polygram Filmed Entertainment (UK), Rialto Film AG (Switzerland), RCV Film Distribution, Cinemussy (Spain), Senator Film (Germany), Atalanta Filmes (Portugal), Edko Films (Hong Kong), NTV-PROFIT (Russia), Artistas Argentinos Asociados (AAA) (Argentina), AmaFilms (Greece), New Star (Greece), Sandrew Film (Sweden), United International Pictures (UIP) (Australia), Warner Brothers (Finland)

134 minutes
Rated R

(iTunes rental) C+

http://www.davidlynch.de

Good Will Hunting

(USA 1997)

“Well, I got her number. How do you like them apples?”

—Will Hunting

Good Will Hunting, the final screening of Chicago International Film Festival’s Totally ’90s series, is not something I associate with its director, Gus Van Sant. Frankly, I didn’t know he directed it until I saw his name in the credits.

No, I associate Good Will Hunting with longtime friends Matt Damon and Ben Affleck, who while they were both still relatively unknown turned the former’s drama class project into the script that would become this film (http://www.eonline.com/news/802830/looking-back-at-the-totally-crazy-story-behind-the-making-of-good-will-hunting). The success of Good Will Hunting seemed to come out of nowhere and established both of them as actors—never mind that they snagged the Oscar for Best Screenplay in 1998 (https://www.oscars.org/oscars/ceremonies/1998). Damon and Affleck have both written since, but none of their screenplays has been as successful as this one.

Gerald Lambeau (Stellan Skarsgård), a professor at MIT, is baffled when someone anonymously solves a wicked hahd math problem he posted on a chalkbaord in the hall as a challenge to his students—he expected it to take the entire semester. No one steps up to claim the work. He posts a second problem, one that took his colleagues two years to figure out. He’s amazed when he catches one of the school’s janitors, Will Hunting (Damon), red-handed. Will won’t have anything to do with Lambeau—until he ends up in jail for assault.

Recognizing Will’s gift, Lambeau makes a deal with him: he’ll pay for bail if Will works with him on math and sees a therapist. The problem is, Will doesn’t make it easy to connect. In fact, five different therapists fail. As a last resort, Lambeau calls former classmate Sean Maguire (Robin Williams), who has a similar Southie background as Will and stands up to his crap. Sean sees that Will is deflecting to hide his self-sabotaging tendencies.

Meanwhile, Will meets Skylar (Minnie Driver), who sweeps him off his feet. It all goes well until she tells him she’s going to medical school at Stanford—and asks him to go with her.

The script here is loaded with good ideas and gorgeous details—that story about Sean ditching a Red Sox game to be with a girl he just met in a bar (she would become his wife) is gold. So is Will’s confrontation with a grad student (Scott William Winters) at a dive. Hearing Damon sing “Afternoon Delight” while he’s faking hypnosis is hilarious. The story, though, is predictable. Good Will Hunting excels because of the acting. The casting—by Kerry Barden, Billy Hopkins, and Suzanne Smith—makes all the difference in the world.

With Ben Affleck, Casey Affleck, John Mighton, Rachel Majorowski, Colleen McCauley, Cole Hauser, Rob Lyons, Steven Kozlowski, Jennifer Deathe, Philip Williams, Patrick O’Donnell, Kevin Rushton, Jimmy Flynn, Joe Cannon, Ann Matacunas, George Plimpton, Francesco Clemente

Production: Lawrence Bender Productions, Be Gentlemen Limited Partnership, Miramax Films

Distribution: Miramax Films (USA), Bac Films (France), Buena Vista International (UK), Cecchi Gori Distribuzione (Italy), Filmes Castello Lopes (Portugal), Intersonic (Czech Republic), Laurenfilm (Spain), Lider Films (Argentina), SF Norge A/S (Norway), Scanbox Entertainment (Sweden), Scotia International Filmverleih (Germany), Shochiku-Fuji Company (Japan), Svensk Filmindustri (SF) (Sweden), Svenska Filminstitutet (SFI) (Sweden), United International Pictures (UIP) (Switzerland)

126 minutes
Rated R

(Public Chicago) B

Chicago International Film Festival

https://www.miramax.com/movie/good-will-hunting/