We lost the artist David Lynch on Jan. 15, just five days before his 79th birthday. As a writer, director, painter and designer, he spent his entire career finding ways to map the human subconscious, making movies that feel like glimpses of half-remembered dreams, scripts that turn dream logic into tactile reality and paintings that found more layers behind the darkness than we ever knew were there. I’m just as guilty as anyone for overusing words like “genius” or “visionary,” so instead of using either word to describe David Lynch, I will just say this: Thank you, David Lynch. You were one of the best to ever do it.
What I find so fascinating about Lynch is that if you view his work outside of the context of who he was and his history, you would think he was a tortured artist, high on his own supply. But he grew up in the land of white picket fences and perfectly manicured lawns with a loving mother and father, who he doesn’t remember ever hearing fight a single time. After spending so much of his youth up to his neck in the Middle American Dream, finding the darkness contrasted against the smooth, unblemished surface became a recurring motif in almost everything he would make. One of his earliest memories as a child was playing outside with his brother and seeing a naked, crying woman walking down the neighborhood street. This would become one of the seeds (and most haunting images) of his 1986 masterpiece “Blue Velvet.”
But again, Lynch wasn’t some tortured artist using the canvas of cinema as a form of therapy. He thought being an artist was mostly comprised of drinking coffee, smoking cigarettes and, every once and awhile, meeting a woman. Yet, if you look at his earlier work, you would absolutely think he had a traumatic childhood he was still trying to process. His 1970 short “The Grandmother” follows a little kid who is neglected and abused by his parents so he plants some seeds and grows a weird grandmother. It’s an amazing short, filled with so many of the absurdist touchstones that would come to define his style.
Lynch would always take details from his life as inspiration. Moving from idyllic small-town life to a rough neighborhood in Philadelphia (contrasted with the unexpected pregnancy of his wife and birth of his daughter, Jennifer) provided the spine for 1977’s “Eraserhead,” a body horror experiment in surrealistic panic that feels steeped in the fear of fatherhood and the paranoia of the violent world outside your door. But Lynch himself said that not a single critic ever really understood “Eraserhead” for what it was trying to say, so please don’t mistake anything I say about his work to remotely resemble his intentions. I always assumed most of his work was about finding the rot at the center of the American Dream, but the older I get, the more I realize that it’s always been more than that. There is no singular theme. His work is like life: only understood while living.
It was seeing his insane howl at the moon, 1990’s “Wild at Heart,” at 12 years old that imprinted Lynch onto my brain. Seeing the fearlessness of how he moved the camera and the pure uninhibited insanity he got from his actors while luxuriating in the dreamy darkness of Angelo Badalamenti’s score made me realize for the first time that there were no borders to cinema; that as large as your imagination could possibly be, movies were still a wide enough canvas on which to splash those ideas. Without “Wild at Heart,” without the epiphany of the limitlessness of art, I’d be a different person today.
It doesn’t matter where you discovered him: Whether it was the grime of 1997’s “Lost Highway,” the calm quiet of 1999’s “The Straight Story,” the neo-noir splash of sex and death in 2001’s “Mulholland Drive,” the flawlessly framed “The Elephant Man” from 1980, the original water-cooler show “Twin Peaks” or even the sci-fi insanity of 1984’s “Dune,” Lynch approached everyone who was touched by his work differently — just a gentle tap on the shoulder before his booming voice asked you if you wanted to see something weird.
David Lynch changed movies forever. Changed me forever. I’m not sure a filmmaker passing has ever affected me this much and I doubt it will again. In my youth, I spent so much time trying to decode his work so I could be the smartest person at Denny’s with my watery, black coffee and bottomless pack of Camels, arguing what Lynch meant with the ending of “Mulholland Drive.” But then a quote I read of his quieted that part of my brain and just let me exist with his art instead of trying to tame it.
“I don’t know why people expect art to make sense when they accept the fact that life doesn’t make sense,” he told the Los Angeles Times in 1989.
Thank you, David Lynch — for your art, your soul and your untamed mind.
This article appears in The Source Weekly January 23, 2025.
MAKE LOCAL JOURNALISM HAPPEN
Republish our articles for free, online or in print, under a Creative Commons license.
The pencil machine operator has tested the eraser made from Henry’s brain matter. He deadpans, “It’s okay,” and, with those banal words, delivers still another unexpected shudder in the fabric of the nightmare within the dream.
But, oh the humanity of “Eraserhead”! In the history of cinema has there ever been anything evoking as much pathos as the solitary, gasping quasi-infant. In “Elephant Man,” as well, Joseph Merrick’s gentle soft-spokenness triumphs in memory over his monumental grotesqueness.
“Twin Peaks: The Return” popularized the slogan, Fix your hearts or die! a phrase that has since become an empowering pro-transgender cry against bigotry. Lynch even expressed sage advice for Trump: “It’s not too late to turn the ship around. Point our ship toward a bright future for all. You can unite the country. Your soul will sing. Under great loving leadership, no one loses everybody wins. It’s something I hope you think about and take to heart.” This thought echoes in the heroic Rev. Mariann Budde’s sermon.
And, oh, those curtains and lamps!
I treasure the time I worked with David and Angelo. I asked him once if Blue Velvet was his memory of Hillyard as a kid. He answered “What is a Hillyard?”
I guessed he was too young to bike from lower South Hill. He said he would walk home from a friends house at dusk and see in the lighted windows people watching TV or having family dinner etc. He said “I always wondered what was going on in the basement”. A loyal friend and huge mentor.