It's interesting that even a story with a straight-forward plot like this one, is full of typical Lynch distractors. While those uncanny events and characters don't quite fit with the movie's atmosphere, they're still individually enjoyable; it's just what Lynch said: it's more like a compilation of random events and moments within the movie's context. Also, you cannot get wrong with Nicolas Cage's over-the-top yet natural acting, energetic and charismatic Laura Dern and the creepily funny Willem Dafoe's character. This is more like a transition between the somehow more accessible previous movies (except "Eraserhead" of course) and the brain madness that's about to come.

I admit to being as infatuated with this film as I am slightly repelled by it. I watch "Wild" every time it comes on and I'm not really sure why - especially since the emotions this film stirs up in me are not always pleasant. There is much to love about this film and much to dislike. The love in this film (between Lula and Sailor) is very pure and strong; but so is the hatred and violence. the feelings called up in the story are not always pretty,; in fact much of it is quite ugly and hard to watch. Even worse, the moment we identify with Sailor and Lula we are forced to realize we have no way of knowing what will happen next, except it probably won't be good for anybody - since they are simply swept along by events. Sailor and Lula are so innocent and even naiive' at times, we identify so strongly with them that they quickly become "ours" somehow. it's obvious the emotions we feel are deliberately (and precisely) orchestrated by Lynch's masterful direction, and it's hard not to feel resentment at times. The fun couple tries very hard to run from their problems (Lula's insane mother, who will do literally anything to break them up) but never seem to get anywhere, since it always finds them. In a sort of non-stop symphony of emotions we allow ourselves to be carried along with Sailor and Lula's train-wreck-in-progress... we want to see the characters to the end, good or bad. Romantic love, sex, innocence, evil, jealousy, obsession - Sailor and Lula, (and we the audience) confront them all; and when their love story suddenly begins to turn to something darker, we feel it as acutely as they do. Lynch deliberately set out to create the emotional roller-coaster in the audience and he succeeds; but the execution is so masterful it almost becomes another character all it's own.This is the kind of film you will either like very much or hate - there are many elements of absurdity that barely fit the narrative, and the senselessness of some of the scenes and characters can be hard to overlook - but "wild" is an unconventional romance/drama/comedy that never seems to take itself too seriously yet delivers many powerful messages that you might find thinking about long after you've finished watching.

Its not perfect and its barely one of Lynch's best but it is still a very good movie and a joy, if a rather scary one, to watch. Laura Dern, apparently foregoing her non nudity clause, puts in a very brave performance, possibly her best. Nicolas Cage, famously variable is spot on in this all the way through. There may be doubts during the narrative as to whether this is intended to be a love story or a hate story but Cage persuades from start to finish with an massive performance. Convincing as the tough, ruthless, almost psychotic, gentle romantic guy. Probably the second most scary person in this is Laura Derry's mother Diane Ladd playing her mother, which is pretty scary in itself but this gets worse and worse. And the award for the most scary person of all goes to - Willem Defoe, but then isn't he always and he finds new ways to be so. Some great scenes, maybe a little overlong, but then Lynch does so love those endless highways.

"Wild at Heart" is not one of the most famous films by David Lynch, but I think it is as worthy as his best ones. Perhaps its unique genre has been preventing a wider appreciation of the movie. The plot is deliberately simple. There are two sweethearts, Lula Fortune and Sailor Ripley. Sailor goes to prison for killing a gangster who tried to kill him. Lula's mother hates Sailor and wants her daughter to break up with him, but Lula waits for him. As soon as Sailor gets out of prison, he breaks parole and takes his love on a road-trip adventure. Wild at Heart has multiple allusions to the Wizard of Oz, with the wicked witch (Lula's mother) and the adventure and troubles of a little girl (Lula). Some of these references are even direct, like in the scene where Lula is clicking her ruby slippers. Of course, in modern times you don't walk down the yellow brick road – you drive. The lovers encounter numerous dangers on their way.PULP FICTION: Wild at Heart looks to me like a precursor to Pulp Fiction which was made by Quentin Tarantino four years later. Both movies are loaded with pop-culture references, which are a favorite fodder of postmodern directors (Wizard of Oz, Marilyn Monroe, Elvis, gangster novels). Both have a simple comic book-like plot. Even the names Sailor Ripley and Lula Fortune sound like they came from a comic book or a paperback novel. However, this simplicity is intentional - in the postmodern art the plot is usually no more than a loose guidance, a necessity used by the director to express his art. It's the same idea as when a jazz band takes a simple tune and transforms it into a completely new and fascinating art piece. There are many other similarities between the two movies. For example, the mobster's name Marcelo Santos resonates with Pulp Fiction's gangster Marcellus Wallace. Uma Thurman identifies Travolta as an Elvis man as opposed to a Beatles man – well, Lynch clearly casts Sailor as an Elvis man in his movie. But the main similarity between Wild at Heart and Pulp Fiction is the fact that in both cases we are watching an absolutely low-brow material – which normally we would skip - but are enjoying it as true art. We genuinely yearn to be around the characters, in the midst of an action, forgetting the fact that this marvelous artwork is actually built out of pulp. Tarantino will develop the same method even further with Kill Bill, but for David Lynch this is the only movie of such kind. One difference of the way Pulp Fiction is made is that the episodes in it are not sequential, even though you can mentally restore the time-line. Lynch will use the same approach later in Mulholland Drive, which is even harder to reconstruct than Pulp Fiction (although possible). The point is to take the viewer's attention away from the linear plot, from the comfort of knowing what's next, and instead focus on each episode or character alone. LYNCH'S AESTHETICS: There is a plethora of weird episodic characters in the movie, which is typical for Lynch. He always handpicks collections of bizarre and freaky creatures in his films, which are often unnecessary for the plot but create an intense mood. The pigeon- squawking man, the maniacal woman with orthopedic leg, the three fat "porn models", Mr. Reindeer (another typical comic book-like character) – the list can go on and on. This alluring ensemble of freaks and weirdos circles around our lovers on the yellow brick road. Some of them are just confusing, while others are menacing. Very few are amicable, like the old black gas station attendant who is tapping joyfully to Lula's dancing, his legs sticking out of short work overalls trousers as thin as the legs of the chair he is sitting on.ROAD HAZARDS: It feels like Lula and Sailor are the only sane people, devoid of evil tendencies, surrounded by hostile and mad reality - or perhaps they have accidentally landed in a scary fairy tale. Their journey to happiness hits snag after snag along the yellow brick road. The radio in the car keeps talking about horrible crimes and accidents on every frequency, and the atmosphere of distress is trying to put them down. They stop the car, jump out and start kissing. This may be their only way to escape, even if futile. Our heroes are alone in their adventure, and all they can hold onto is their love and the foolish snakeskin jacket, proclaimed to be a "symbol of individuality and personal freedom". But the clouds are darkening over them.ACTING: Willem Dafoe puts up an excellent performance as a remarkably despicable mobster Bobby Peru. He is repellent and attractive at the same time, and even Lula almost surrenders to him (remember her bent outward fingers – her "tell"?).Lula's mother displays a harmonious combination of murderous and humane sides, lying and trusting at the same time. Painting the face red before betraying and dooming her former lover is a fascinating scene reminiscent of the ancient theater. She is evil and vengeful, yet so feminine and vulnerable.GENRE: So is Wild at Heart a road-trip movie? A love story? A fairy tale? A gangster movie? Neither, even though it freely plays with the elements of all these genres. In order to understand it, one should drop the perception constraints of any specific genre and start enjoying the movie as a unique creation. Then the movie will open up, scene by scene, like a good wine which reveals the depth of taste as you sip it. Overall, Wild at Heart is a remarkable postmodern feature, unique in its kind for Lynch yet in the same league as Mulholland Drive and Eraserhead.