Blue Velvet

Blue Velvet

4.4 14
Director: David Lynch, Kyle MacLachlan, Isabella Rossellini, Dennis Hopper

Cast: David Lynch, Kyle MacLachlan, Isabella Rossellini, Dennis Hopper


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One of the great cinematic causes célèbres of the 1980s, David Lynch's florid and surreal examination of the corrupt undertow of an innocent community receives an appreciative DVD presentation in this release from MGM Home Entertainment. Blue Velvet has been given a letterboxed transfer to disc in the widescreen aspect ratio of 2.35:1, and has been


One of the great cinematic causes célèbres of the 1980s, David Lynch's florid and surreal examination of the corrupt undertow of an innocent community receives an appreciative DVD presentation in this release from MGM Home Entertainment. Blue Velvet has been given a letterboxed transfer to disc in the widescreen aspect ratio of 2.35:1, and has been enhanced for anamorphic playback on 16 x 9 monitors. The transfer was supervised by David Lynch (though unlike most Lynch-approved editions, this one includes chapter stops), and it makes Frederick Elmes' cinematography look nearly as good as it did in theaters, preserving the rich blues and reds of Lynch's signature palate. The English-language soundtrack has been given a rich-sounding but effectively accurate remix in Dolby Digital 5.1, while a dubbed French track appears in Dolby Surround and a Spanish version is in Dolby Digital Mono. Optional subtitles have been provided in English, French, Spanish, and Portuguese. Topping the film's selection of bonus materials is "Mysteries of Love," a 70-minute documentary on the making of Blue Velvet, which features illuminating interviews with much of the film's cast and crew (though Lynch appears only in older interview clips). Also included are photo montages which attempt to suggest the look and style of several deleted scenes (the outtakes themselves are apparently lost forever), three galleries of production stills, an excerpt from Roger Ebert and Gene Siskel's televised review of the film, and the film's original trailer. All in all, this edition of Blue Velvet offers an excellent video presentation of the film and is as sound a place as any to evaluate its virtues, which are still being debated.

Editorial Reviews

Barnes & Noble - John Guida
Joltingly original, lurid, and fascinating, David Lynch's Blue Velvet is probably the strangest coming-of-age tale in American cinema. Kyle MacLachlan is Jeffrey Beaumont, a college student who returns to his hometown of Lumberton, North Carolina, after his father suffers a stroke. When he finds a severed ear in a field, he begins investigating how and why it got there, with the help of fellow naif Sandy (Laura Dern). They stumble into the world of nightclub singer Dorothy Vallens (Isabella Rossellini), who is being emotionally, physically, and sexually abused by Frank Booth (played to psychotic perfection by Dennis Hopper). Lynch, who also carefully crafted the script, plunges Jeffrey into the dark, surreal depths beneath this stereotypically innocent small town, forcing him to encounter a shockingly perverse side of his own personality. The jarring juxtaposition of blandly charming Americana and jaw-dropping depravity leaves first-time viewers spellbound and made the film an instant cult classic. You'll never listen to Bobby Vinton's title song, "Blue Velvet," or see an oxygen mask, the same way again.
All Movie Guide - Michael Hastings
David Lynch's map of the terrain between wet dream and nightmare, Blue Velvet reaffirmed the director's status as one of the most vital talents in American filmmaking, and achieved a mood and tone which would indelibly influence popular culture for the remainder of the 20th century. Though much of the film revolves around a compelling, lurid mystery -- executed in a tense, economical manner that might have made Alfred Hitchcock proud -- Blue Velvet is more interested in the mysteries of desire and the horrors of unchecked deviance. Lynch uses the form, style, and mood of a film noir to challenge and ultimately subvert notions of innocence, sexuality, and love. Even the casting reflects the director's agenda: Lynch's fresh young heroes, as played by Kyle MacLachlan and Laura Dern, are like leads in a 1950s hygiene film; he pits them against two icons of a lost Hollywood, Isabella Rossellini and Dennis Hopper, the latter turning in a jolting, career-resuscitating performance. Though it specifies no particular time, Blue Velvet's "golly gee" milieu of Lumberton, replete with soda fountains, convertibles, and hardware stores, is a Reagan-era idyll, an exaggeration of the 1980s concept of the American Dream. But from the moment Lynch's camera delves underground (in a surreal, Buñuel-like moment) to take in a thriving community of ants, it's clear that the director is more interested in the Reagan of Kings Row (1941), and in the grotesque despair that lurks beneath the surface of placid middle-American life. The film was a breakthrough for Lynch in the way it melded the dream worlds of Eraserhead (1977) and Dune (1984) with the more literal, narrative approach of The Elephant Man (1980): its densely saturated, red-white-and-blue color scheme was stunningly photographed by Fredrick Elmes; the haunting, expressionistic soundscape was designed by frequent Lynch collaborator Alan Splet.
All Movie Guide - Lucia Bozzola
A neo-noir nightmare about a cheery town's "strange world," Blue Velvet (1986) is the quintessential David Lynch film. Delving into the sordid underside of heartland America, Lynch's tale of murder, greed, sexual deviance, and sado-masochism unequivocally revealed his cinematic gift for merging deadpan humor, aching sincerity, and unspeakable brutality. The indelible images of too-crisp suburban picket fences and flower beds and the insect-infested ground beneath are deeply unsettling long before nice boy Jeffrey Beaumont's discovery of a severed ear leads to the Lumberton netherworld inhabited by victimized torch singer Dorothy Vallens and fabric-obsessed, gas-inhaling über-psycho Frank Booth. Beaumont's struggle between the dark temptations of Booth's world and the luminous normality of his blonde girlfriend Sandy sharply divided critics over whether Blue Velvet was perverse filth, or a disturbing mélange of surrealism, noir, and 1950s kitsch that brilliantly punctured the smooth surface of traditional Americana. Still, Lynch's singular vision earned an Oscar nomination for Best Director and a devoted cult following for the box office flop; the National Society of Film Critics gave Blue Velvet several prizes including Best Film and Best Supporting Actor for Dennis Hopper's unnerving, career-resurrecting performance as Booth. By 1990, as Lynch was about to bring his warped version of small town America to TV on Twin Peaks, critical consensus declared Blue Velvet one of the three greatest films of the 1980s, alongside Raging Bull (1980) and Do The Right Thing (1989); traces of its influence can be seen from Quentin Tarantino's arch sadism to Todd Solondz's suburban misanthropy.

Product Details

Release Date:
Original Release:
Mgm (Video & Dvd)
Region Code:
[Wide Screen]
[Dolby Digital Mono, Dolby Digital Surround, Dolby Digital 5.1 Surround]
Sales rank:

Special Features

New digital transfer supervised by David Lynch; "Mysteries of Love" documentary; Deleted scenes montage; Original "Siskel & Ebert" review; Photo gallery; Collectible booklet; Original theatrical trailer; And more

Cast & Crew

Performance Credits
Kyle MacLachlan Jeffrey Beaumont
Isabella Rossellini Dorothy Vallens
Dennis Hopper Frank Booth
Laura Dern Sandy Williams
Hope Lange Mrs. Williams
Dean Stockwell Ben
Brad Dourif Raymond
Jack Nance Paul
Frances Bay Aunt Barbara
George Dickerson Detective Williams
Jack Harvey Mr. Beaumont
Priscilla Pointer Mrs. Beaumont
Ken Stovitz Mike
Kate Reid Party Girl
Jean Pierre Viale Master of Ceremonies
J. Michael Hunter Hunter
Dick Green Don Vallens
Fred Pickler Yellow Man Detective T.R. Gordon
Philip Markert Dr. Gynde
Leonard Watkins Double Ed
Moses Gibson Double Ed
Selden Smith Nurse Cindy
Peter Carew Coroner
Jon Jon Snipes Little Donny
Angelo Badalamenti Piano Player
Donald Moore Desk Sergeant
A. Michelle Depland Party Girl
Michelle Sasser Party Girl

Technical Credits
David Lynch Director,Songwriter,Screenwriter
Angelo Badalamenti Score Composer,Songwriter,Musical Direction/Supervision
Fred Caruso Producer,Production Manager
Bill Doggett Songwriter
Duwayne Dunham Editor
Frederick Elmes Cinematographer
Pat Golden Casting
Jeff Goodwin Makeup
Edward Heyman Songwriter
Greg Hull Special Effects
Richard Langdon Stunts
Gloria Laughride Costumes/Costume Designer
Lee Morris Songwriter
Pat Norris Costumes/Costume Designer,Production Designer
Johanna Ray Casting
Edward Reyes Score Composer
Richard A. Roth Executive Producer
Clifford Scott Songwriter
Shep Shephard Songwriter
Alan Splet Sound/Sound Designer
Bernie Wayne Songwriter
Victor Young Songwriter

Scene Index

Side #1 --
1. Logos/Title/Credits [1:47]
2. "Lumberton, USA" [3:05]
3. A Gruesome Discovery [4:16]
4. Curious Conversation [6:44]
5. Planning Over Lunch [3:56]
6. "Only the Bug Man" [4:44]
7. "So What's Next?" [2:53]
8. "The Blue Lady" [2:28]
9. Breaking and Entering [4:40]
10. Caught in the Closet [6:58]
11. Crazy Frank [6:02]
12. "Hold Me!" [5:24]
13. "A Strange World" [4:52]
14. "The Slow Club" [4:30]
15. Staking Out Frank's [4:07]
16. "Are You a Bad Boy?" [4:13]
17. "Go for a Ride?" [2:24]
18. Beer at Ben's [8:00]
19. No Clowning Around [5:49]
20. Exposing the Truth [7:06]
21. "Fatherly Advice" [2:31]
22. Falling in Love [2:58]
23. Intercepted Date [2:46]
24. "What's Going On?" [3:59]
25. Double Murder [3:51]
26. "Hey, Neighbor!" [5:07]
27. Back to Normal [3:44]
28. End Credits [1:19]


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Blue Velvet 4.4 out of 5 based on 0 ratings. 14 reviews.
Guest More than 1 year ago
'Blue Velvet' isn't as surreal or as hard to follow as 'Lost Highway'. Its not as subversive or demanding as 'Mullholland Drive'. But it does beautifully display the constant themes, reoccuring imagery and distinct 'something is not right' feeling that epitomizes David Lynch's work, and as such makes it an excellent introduction into what David Lynch's art is all about. Lynch gained subtlety in his later years, so when - within the first opening scenes of the film - a stark and obvious comparison is made to the picture-perfect suburban lifestyle versus the seething, alien dark life below it, don't worry. You're not going to be spoon-fed the points Lynch is trying to make in this movie - it just feels like spoon-feeding when compared to what Lynch demands of his audience in later works. However, if Blue Velvet is your first exposure to Lynch, this is probably a good thing. The synopsis, if it is needed, runs like this: Quiet college boy Jeffery comes home when his father has a stroke and ends up in the hospital. He's quickly drawn into a darker side of his hometown when he discovers a severed ear in an empty field. A detective's daughter, Sandy, gives him overheard info that the police have been watching the apartment of Dorothy Vallance, a local nightclub singer. When Jeffery (rather naively, one suspects) takes the investigation into his own hands, he discovers the thrills of voyeurism, is molested at knifepoint by Dorothy, witnesses Dorothy's brutalization, objectification and pseudo-rape at the hands of Frank Booth (also kidnapper for Dorothy's husband and son, said husband being the source of the severed ear), and finally is pulled into becoming an active participant in this dark situation when he succumbs to Dorothy's pleas to beat her while they have sex. The rest of the film follows Jeffery's further investigation into Frank (propelled by his heightening interest in Dorothy), his subsequent full-blown trip into Frank's hellacious world, and his emergence into the role of victorious hero at the film's climax. Plot-wise, as earlier mentioned, Blue Velvet takes a pretty clear shot at the story (although the extent of supporting characters' involvement in the crimes in question is never fully explained). If you don't think so, try watching 'Lost Highway' and then see what kind of 3rd grade primer 'Blue Velvet' is by comparison. Scattered throughout are the delicious visual snapshots that Lynch is rightly famous for - Dean Stockwell lip-synching into a lightbulb to Roy Orbinson's 'In Dreams', the artificial poses of the yellow man and Dorothy's husband at the film's final showdown, Frank huffing off an oxygen mask while staring intently at Dorothy's genetalia (shot off-center, as if seen by a completely unattached observer). When the world of the sane and rational sits cheek to cheek with the insane and irrational, the only way to reconcile the two seems to be in dreams, and the dreamlike quality of many of the scenes leading to the final 'happy ending' have become the visual signature to Lynch's work. The problem is, Jeffery's emergence back into the world of light and reason seems a little...premature. Jeffery has discovered the other side of the coin, and the problem about discovering things is that you can't un-discover them later. While the ending implies a rosy future with sweet-as-pie Sandy (a total innocent in a Lynch movie, where there are rarely any truly innocent people), I couldn't help but wonder how long it would take Jeffery to start crusing the dark alleyways of his hometown, stopping in to visit Ben the pimp, inhaling the gas from whipped cream canisters, or maybe striking Sandy in a fit of sexual impulse. Innocence, once lost, is gone for good. Not to say that I was completely disappointed by the ending. For newcomers to Lynch, the film serves as a fitting baptism - it ducks you under the water long enough to see what lives in the darkness, but pulls you back up into
Guest More than 1 year ago
I was impressed the first time I saw it. This time I wanted to watch it twice. Another movie by David Lynch would be terrific.
Guest More than 1 year ago
Dennis Hopper gave a great performance as Frank Booth. The character was 50% scary and perverse and 50% wierd and hilarious. He should have gotten nominated for Best Actor.
Guest More than 1 year ago
This is a very twisted and sordid movie. David lynch is in top form here as he pushes the envelope of good taste. His movies always keep you on your toes and if you get up out of your chair, you're bound to miss something. Don't miss it.
Guest More than 1 year ago
David Lynch is to be heartily congratulated for delivering a film so nightmarishly real you will wonder if you are dreaming with your eyes open. What I liked about this book was its unflinching honesty about sexual perversion. It's all in here. One of most intriguing characters in the film is Ben (played by Dean Stockwell). He is portrayed as an autogynephilic transsexual with sadistic tendencies (he wears copious make up, and ever so suavely punches handsome young Jeffrey in the stomach). It's interesting that an art house film could deal with this topic (autogynephlia, transsexuality) years before autogynephilia even had a name, and years before the publication of books like The Man Who Would Be Queen (J. Michael Bailey), which describe the main types of transsexuality. This is only more evidence of the the genius of Blue Velvet.
ValeretFields More than 1 year ago
Blue Velvet, written and directed by David Lynch and starring Isabella Rossellini, Dennis Hopper, Kyle MacLaughlan and Laura Dern, follows a young man's discovery of a severed ear in a seemingly quiet town. He then discovers many secrets hidden within the town. It is a depiction of corruption beneath the presentation of a nice community. Lynch is a master at what he does and the cast is very interesting to watch.
Guest More than 1 year ago
This movie shows all characteristics better than any other movie known to me as being a noir film, and is one of the easier Lynch movies to follow. Don't be turned off by the cheesy begining Lynch meant it to be this way to show what a boring life they had before the mystery began (entered the ear). It touches on how there is a dark underbelly all around us its just sometimes hard to see, and Jeffrey doesnt understand why people like Frank (dennis hopper) exist until he becomes part of the dark world by hittin Dorothy himself. This shows him anyone could essentially be an evil person at night and live a normal everyday life. If your into noir or suspense/mystery films your crazy to pass this movie up.
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