But the strongest link between these movies is the role they play in the careers of their respective auteurs. If the clear contrast between L'Amour Fou and Wild at Heart lies in their settings, the obvious similarity is their subject: these are the directors' foremost "couples films," depicting the raw power and fragility of passionate, confused, possibly somewhat crazy men and women. Fifteen years after Eraserhead, Lynch's Palme d'Or-winning work is the polar opposite of his debut in almost every conceivable way. Wild at Heart, on the other hand, blows the Lynchverse's doors wide open, rocketing Sailor (Nicolas Cage) and Lula (Laura Dern) cross-country to experience wacky adventures with a wild cast of characters. Rivette turns his characters inward, locating most of L'Amour Fou within two interiors: the cavernous rehearsal space where Sebastien (Jean-Pierre Kalfon) directs the play Andromachas, and the distinctive apartment (as much a creepy character as Henry's room in Eraserhead) where Sebastien and his wife Claire enact ritualistic abuse, empathy, and engagement. If the pairing of Paris Belongs to Us and Eraserhead suggests a contrast between Rivette's ambitious sprawl and Lynch's intense claustrophobia, the Wild at Heart/ L'Amour Fou double feature places the shoes on the other feet.
I attended individual screenings of Wild at Heart (1990) on the afternoon of Tuesday, December 15, and L'Amour Fou (1969) on the afternoon of Thursday, December 17.
#The wild at heart genres series#
This is the fourth entry - but, technically, the third double feature - in a series covering the Lynch/Rivette retrospective at Lincoln Center, running from December 10 - 22.
0 kommentar(er)
