It’s without a doubt David Lynch’s most stylish film. Much like the passionate screams of Lula Fortune in that first of many gruesome murders on the stairs of the opening gala, Wild At Heart has an enduring style that rings loud and true long after you watch it. More than the illogical non-sequiturs and legit barking by some characters, the film is Lynch’s perfect marriage of weird characters and weirder threads. It’s about a Bonnie & Clyde twosome with a few screws loose and their larking about to elude the hitmen sent after them. From the opening scene where Sailor (in a monochrome blazer) and Lula (wearing a coral dress with choker and Ariana Grande hair) cut through the samey crowds, the lovesick duo dish out lewk after lewk all while thwarting the clutches of Lula’s disapproving mum Marietta.
Incidentally, Lynch's groundbreaking TV series Twin Peaks debuted later this same year, and many of that show's actors can be seen in small parts here.What David Lynch’s Wild At Heart has is style, man. But for the majority of the movie, Lynch's touch works, and provides a strange, entertaining ride. Lynch also includes some moments of plain weirdness, such as a man talking with a high-pitched voice and another man ( Jack Nance, of Eraserhead) speaking in odd riddles, which only calls attention to itself. Yet Lynch seems to have let his artistic id take over a bit too often, obsessing on both The Wizard of Oz and Elvis Presley, and trying to shoehorn references into the movie whenever possible - whether they fit or not. Even if they have been the victims of bad luck and made some bad choices, they are worth rooting for, and Cage and Dern are terrific in their roles (especially Dern, whose physicality in this movie is striking). In their scenes together, they seem to truly appreciate each other's nuances and to respect one another. At its core, Wild at Heart is a pretty simple, very good lovers-on-the-run film noir Sailor and Lula are super-cool yet sympathetic characters whose love is never in doubt. David Lynch's adaptation of Barry Gifford's novel contains much of his trademark powerful, nightmarish imagery, even if it also appears that he might have been grasping at straws at times.
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