networkingakp.blogg.se

Instead it’s all far, far downhill from there. The last time we see those two before this scene, they’re making out alongside the road against a Texas sunset – this would have been any other movie’s happy ending. Rather, it marks a clear line of delineation between the positive, love-conquers-all tone of the movie’s onset and the circling descent into hell that it becomes in its final act. This scene – much like the child killed by a speeding truck in one of the most unshakeable sequences of last year’s Twin Peaks: The Return – has little bearing on the movie’s plot indeed, it was one written in by Lynch and not part of the original Barry Gifford novel which inspired the film. Lula breaks down, and tearfully wonders out loud why the girl had to go and die in front of them. She stumbles head-first, coughs up a fearful volume of syrupy blood, and dies.

The girl is given no name, and her only lines are trivial, confused rants she begs Sailor and Lula not to tell her mother what happened, and to help her find her purse and hairbrush as they try in vain to escort her into their vehicle. They pull over to investigate, finding two passengers deceased – and another, played by Twin Peaks’ Sherilyn Fenn, stumbling through the darkness, bleeding from the head and obviously dying.

There’s a scene in Wild at Heart where its two central, star-crossed lovebirds – Nic Cage’s Elvis-obsessed Sailor Ripley and Laura Dern’s free-spirited Lula Fortune – come across a grisly car accident.