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Starring: Jack Nance,
Charlotte Stewart
Director: David Lynch
Format: Black & White,
Dolby, DVD-Video, Original recording remastered, Widescreen, NTSC
Language: English
Number of discs: 1
Rating 
Studio: Absurda/
Subversive
DVD Release Date:
January 10, 2006
Run Time: 89 minutes
Amazon.com
This is where is the Lynchian nightmare began. Though he may have redefined
surrealistic cinema in the 1980s and forever altered the face of television in
the 90s, for many hardcore fans it is this infamous feature film debut that is
David Lynch's crowning achievement. Many words have been used to describe Eraserhead
(weird, bizarre, frustrating, enlightening, significant, unwatchable,
meaningless, and momentous), but there is no denying it is completely
unforgettable. As a surreal work of art, Eraserhead easily holds it own
next to the works as Buñuel, Cocteau, and Dali. And like many surrealistic
works, there is no clear answer on what Eraserhead "means."
But, if you are trying to find a simple, linear, plot in Eraserhead, you
are clearly missing the point. For Eraserhead is not simply a movie to
view, but a true cinematic experience, like jumping into someone's nightmare
and seeing it from their perspective. Whether you see it as a meditation on the
terror of being a new parent, the suffocating feeling of living in an
increasingly vapid, industrial wasteland, or a nightmare about the fear of
loneliness, the film easily holds up to multiple viewings. And since this film
is a dark visual ride and a supreme aural achievement, this long awaited, new
transfer is an absolute blessing for David Lynch fans who will finally get to
see, hear and experience Eraserhead clearly on DVD. Bizarre experiment?
Surrealistic nightmare? Or a meaningless cult film? You be the judge. --Rob
Bracco
Product Description
Is it a nightmare or an actual view of a post-apocalyptic world? Set in an
industrial town in which giant machines are constantly working, spewing smoke,
and making noise that is inescapable, Henry Spencer lives in a building that,
like all the others, appears to be abandoned. The lights flicker on and off, he
has bowls of water in his dresser drawers, and for his only diversion he
watches and listens to the Lady in the Radiator sing about finding happiness in
heaven. Henry has a girlfriend, Mary X, who has frequent spastic fits. Mary
gives birth to Henry's child, a frightening looking mutant, which leads to the
injection of all sorts of sexual imagery into the depressive and chaotic mix.
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It’s
either a testament to this films’ artistry and/or a very disturbing &
possibly psychotic kink in my nature—but I don’t find ERASERHEAD to be
depressing at all, just fascinatingly wonderful. The strange vision presented
in the film is not so much anti-social as a-social. It is unique, one of a
kind, can never be put together again in just this way, it is an Event & definitely
one-of-a-kind. It is a cult film, true—but a cult film that simply returns the
stare reflecting back on the surrealist existentialism of the cult viewer.
ERASERHEAD
defies a definitive description because it taps into the inner realm of the viewer—and
no two inner realms can ever be the same.
To me the high
achievement of David Lynch in his film is that he works with unknown, possibly
untrained actors (in some cases anyway) & guides them to produce
outstanding performances based on extraordinarily nebulous characters in an
even more nebulous & totally bizarre script. In this respect ERASERHEAD
brings to mind John Waters' POLYESTER or PINK FLAMINGOS--the main difference
being that Water's films have a more-or-less recognizable, if campy, scenario.
Even Divine's 300-lbs. drag impersonation is accepted as "reality"
within the context of the script & its comic format. ERASERHEAD, on the
other hand, has no familiar landmarks, not even the illusion of reality, and no
place to get your bearings.
But then
who needs bearings—for 89 minutes, at any rate.
And
those 89 minutes are important, because the film ends exactly at the right
moment. Any longer & it might have been expecting too much suspension of
belief from the audience.
My
favorite moment in the movie is the way bizarre cabaret scene performed
by The Lady in The Radiator (picture left). Despite the grotesque
setting, the actress turns in a truly mesmerizing & emotive performance. If
there is a sort of illusive “meaning” in the film, then it is symbolized in
this scene: if you can understand the scene, then just maybe you can understand
the whole picture.
I don’t
pretend to understand either, but I love trying.
This is the sort of film that could be a
once-a-year thing, having a little party, friends over & popcorn--or
whatever.
Review: JEFarrow
Updated 11/07