David Lynch's Lost Highway

Each and every scene from Lost Highway merits praise in its production value; be that as it may, the way in which Lynch introduces us (and Fred) to the Mystery Man is particularly interesting, ignoring his elusive, symbolic subjectivity to simply look at the scene itself. At around the 28-second mark (of the linked video, not the film itself), the Mystery Man begins to approach Fred; as he does, the audible background music of the party begins to fade. By the time he reaches Fred, we’re left with silence (or, rather mechanical noise similar to the sounds which inhabit the entirety of Eraserhead). If nothing else, this forces the audience to focus on the conversation in and of itself—but, there also seems to be sense that sonic manipulation has the ability to affect us spatially: the two characters are isolated due, in part, to this decision (or perhaps Fred is isolated, unconsciously—depending upon your interpretation). Also worth noting, is the extreme close-up of the Mystery Man’s face; we’re able to clearly see his grotesque facial irregularities, to subsequently feel his presence and the anxiety it produces. The overall ‘feel’ of the scene speaks for itself—the acting, the writing—not to mention, some lines are of reoccurring (if not symbolic) importance: “you invited me; it is not my custom to go where I am not wanted.” Similarly, as the Mystery Man turns to exit, the camera untightens, and the music returns to the party; with this, there’s an almost palpable release of tension. Just beyond the scope of the video, Fred walks over to the homeowner to ask about the identity of the Mystery Man; his response is accompanied by the return of this ominous, mechanical noise (for lack of better terms): “he’s a friend of Dick Laurent’s”—which reverts us back to the opening scene (for the first time, that is)—another nod to Lynch’s writing, which although brilliant, probably isn’t the focal point of the Lynchian experience.