Clip of the ambient noise soundtrack from Eraserhead
What the Hell was that Noise: David Lynch's Soundscapes
David Lynch by Marco Grob, 2003
Who is David Lynch?
David Lynch is known as a highly esteemed film maker, who’s work can be described as surrealist and experimental in nature. I first discovered Lynch’s work through his popular 90’s television show Twin Peaks. This show with its remote wooded setting, mystery murder plot, eccentric characters, and surrealist imagery redefined for me what an artistically based director could make and accomplish in popular culture. Through this I became interested in his films and his historical role as a film maker. Lynch began his artistic career with an interest in painting. However, he started creating short films with the idea of “making a moving painting,” as Genocchio, a writer for Blouin Art Info, recorded in an interview with Lynch (Genocchio). These films clearly show his interest in image and color, but also in sound. Most of these films have an aggressive and experimental use of sound that has continued to be a significant element of his work. Many analysts have tried to categorize Lynch’s work through artistic terms or movements, but he is most commonly described by the word “Lynchian”. This term has come to describe an array of Lynch’s styles and themes that can most concisely be defined as perversion of the mundane. Many of his films and their elements can be interpreted through this lens.
Eraserhead
Blue Velvet
When creating a film, one would think imagery stands as the most important to the film maker. In some cases this is true and evident, but Lynch makes a film with all elements taken into account and treated with equal importance. Lynch’s use of sound has been highly praised among film critiques and moviegoers. His early experiments in sound design carried over to his feature length films. The first of these was Eraserhead (1977) beginning Lynch’s trademark style as an auteur and exhibiting his detailed work in sound design. The soundscape for this film was created in collaboration with sound designer Alan Splet. Eraserhead, a completely black and white film, follows the character Henry Spencer, as he discovers he is the father to his girlfriend, Mary X’s, baby which physically resembles an alien-like creature. The film shows Henry’s experience in fatherhood and his progression of resentment for the child. One of the last scenes shows Henry cutting open the child’s protective bandages and stabbing it’s insides to kill it. The soundscape is filled with industrial noises and ambience, with little (if any) moments of silence. There are many strange scenes throughout the film. One of the most important being Henry’s dream sequence. He dreams his brain mass is being used to create eraser tops for pencils, hence the title Eraserhead.
With a successful start as a film maker Lynch went on to have many more hits, including Blue Velvet (1986). Although, stylistically different from Eraserhead, it has many of the same themes and elements. Blue Velvet is an intensely color driven film and is defined by a genre that can be described as neo-noir mystery, or a contemporary take on the dark elements of film noir. This the first time Lynch worked with composer Angelo Baldalamenti, creating a soundscape with appropriated early pop tracks. The plot, set in a suburban small town, follows main character Jeffrey Beaumont; a young man who is home from college after his father has a stroke. On his way home from the hospital, he discovers a severed ear in a field, intriguing him to solve it’s mystery with the help of Sandy, the police detectives daughter. They enter the world of night club signer, Dorothy Vallens, who is being sexually abused by Frank Booth; a man holding her son and husband captive. Jefferey becomes infatuated with Dorothy while falling in love with Sandy. Jeffrey eventually encounters Frank, who tries to kill him. However, Jeffrey ends up shooting and killing Frank. This being a final immersion into the dark world he discovered.
Lynch as a Sound Designer
As mentioned before, Lynch plays as much the role of a sound designer, as he does a film maker and treats sound with equal importance. Many times he collaborates with sound designers, composers, musicians, and vocalist to attain a certain sound and mood. Most of his films have overlaps in style of soundscape and he usually collaborates with the same people for multiple films. Through this, most of his films overlap in theme and mood. I chose to research two of his less compared films (Eraserhead and Blue Velvet) to draw connections through his sound design from different eras of his career. Lynch utilizes sound design in Blue Velvet and Eraserhead as an artistic medium to provide familiar ground through early appropriated pop music for the viewer to further explore the rest of the film, to reinforce imagery and develop setting and mood through a cohesive soundscape, and to further sexual undertones and themes that are introduced.
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The Sounds of Pop in Blue Velvet
Sound Design is utilized in Lynch’s film Blue Velvet to provide familiar ground through early appropriated pop music for the viewer to further explore the rest of the film. In many of his films Lynch is known for this use of appropriated pop music, or music with poppy undertones. The sounds that Lynch is drawing from originated from the time period of his childhood. Mark Mazullo, the Assistant Professor of Music History and Piano at Macalester College in St. Paul, Minnesota, says “It is the songs of his own formative years of the mid-1950s to the mid-1960s”, a time when pop and rockabilly music was forming (494). In his films Lynch uses this style of music in specific ways. Unlike many filmmakers, he treats sound as an integral component; one that has a purpose rather than just posing as background noise. With his appropriation of pop music, Lynch uses it as a doorway for the viewer to enter the deeper, and usually darker, concept of the film. He plays with the idea that this music style is familiar, providing a comforting spot for the viewer to grasp onto, as Katherine Reed, the Assistant Professor of Musicology at California State University in Fullerton, explains, a chance to “react and interact with the familiar pop songs” (4). The importance of this is shown because many of Lynch’s films have convoluted plots, or concepts that can be hard to decipher. However, from this point of familiarity, Lynch totally disrupts the viewers perception of the songs, causing the viewer to think deeper about their meanings and how they relate to the idea he wants to convey. Mazullo explains this concept, “Unlike films in which popular music ‘grounds the entire narrative in the everyday’ and in which a viewer's affiliation is capitalized upon…Lynch's work uses popular song as a means of alienating the everyday” (496). Lynch is using these songs in a way that puts them on display. The viewer is meant to historically understand the songs function, then analyze, and question that through their use in the film. In agreement to Mazullo, Reed states, “For Lynch, musical appropriation is a semiotic and a memorative tool to actively engage his audience, rather than a signpost by which to convey markers of time, place, or demographic” (4). Reed focuses more on this shared memory that pop music provides for an audience and how Lynch takes advantage of this in terms of familiarity rather than as a describing factor for setting, or time period.
In Blue Velvet the appropriation of pop music becomes a main focus of the film and how certain scenes are perceived. This comes into play even as early as the first forming stages. The idea of the film, which is visually represented in the opening scene, came to Lynch when listening to Bobby Vinton’s 1963 version of the song “Blue Velvet” (Mazullo 508). This version is played in the opening scene among idyllic imagery of stereotypical suburban American culture: the white picket fences, colorful roses and tulips, a crossing guard guiding children across the street, and a bright red firetruck with a dalmatian. Yet, as the scene continues the audience witnesses a man having a stroke in his front yard as the camera pans down to the grass, revealing aggressively crawling beetles underneath. All the while the song continues playing, but it’s function begins to change. Rather than an upbeat song to back an ideal, sleepy community, it becomes a representation of the film’s theme: the darker underside that hides beneath a superficial surface. Paralleled with this theme, Vinton’s version of “Blue Velvet” seems happy and upbeat. However, listening closer to the lyrics, one becomes aware of the sorrow that laces it.
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This is clearly revealed in the scene when the night club singer, Dorothy Vallens, performs the song at a slower tempo, with softer instrumentals and with a quiet, raspy, and emotionally pained voice. Brian Walter, the Assistant Professor of English and Director of Convocations at the St Louis College of Pharmacy, states, “Dorothy’s rendition makes the song both more suggestive and vulnerable than the popular Vinton version that opens the film…” (177). Within this scene the true nature of the song is revealed; it is being used by the character Frank as part of his sadistic pleasure in his control over Dorothy. Despite the songs upbeat mood in Vinton’s version, Dorothy’s rendition truly exploits on the sadness of the lyrics. Overall, the song’s form changes and morphs to further the theme of the film.
Throughout the rest of the film Lynch continues to use other appropriated pop songs to serve a similar purpose. For example, the song “In Dreams” by Roy Orbison appears in two different scenes. Its function, which will later be analyzed, rests on the sexual undertones and theories throughout the film. Although, not all songs in the film are appropriated, Lynch in collaboration with the composer Baldalamenti, continues to use the same style of music congruent with these appropriated early pop songs. This resinates with the feeling of nostalgia and familiarity that is brought about with the appropriated songs and through this a consistent mood is kept.
The Soundscape of Eraserhead
As mentioned before through Olson’s quote, these industrial sounds overtake any sense of life in the film. However, when more “organic” sounds are brought into the scene this creates a strong juxtaposition. Although many have derived different themes and meanings from this film, this juxtaposition of sounds adds to the idea that life is not welcomed in this space, which is supported by Henry’s behavior towards his baby. An important scene which focuses on these juxtapositions is when Henry is invited over to Mary X’s house for dinner. When entering the house the space isn't any more inviting than the outside environment. The lighting is cold and the living area is sparsely furnished (Olson 63). This imagery is reflected in the dialogue that plays out between Henry, Mary, and Mary’s mother. When talking to Henry, Mary’s mother is harsh and unwelcoming, pausing for extensive periods of time in between responses. Olson speaks to this by saying, “A full thirty seconds after Mrs. X’s “Sit down,” she adds, “It’s Henry isn’t it?” In making the verbal-
The sound definitely has a role in enhancing ideas from the imagery, but the imagery also reinforces the importance of sound in the film. Greg Hainge, a professor and researcher of film studies and noise, describes the noise of the film in terms of an image. For example, in the ending of the film Henry and the Lady in the Radiator are engulfed in these bright blinding lights that eventually fill the entire frame. Hainge describes this definition of physical noise, “Dependent on the reaction between light and photochemical agents, overexposure is an intensification of the technological medium that brings with it a great deal of noise” (183). This scene is “noisy” because of the bright lights that allow less of the image to be readable. Through this analyzation one can see how noise and sound are integral parts of Eraserhead.
Sound Design is utilized in Lynch’s film Eraserhead to reinforce imagery and develop setting and mood through a cohesive soundscape. Eraserhead is known for its dense soundscape, creating an intense and often uncomfortable viewing experience. George Godwin, Canadian critic and filmmaker, states “It provides an auditory and visual assault which isolates each viewer” (37). Godwin hints at how the sound design reinforces the imagery and vise versa, with both elements working to create the harsh environment of the film. This is something that is seen often in Lynch’s work and especially in Eraserhead; sound is not used casually, but carefully planned and integrated into the essence of the film.
emotional gap between people so palpable and excruciating, Lynch obliterates the convention of screen dialogue rhythm that celebrates rapid-fire repartee” (63). In this way Lynch is isolating human speech and transforming it’s use into that of pure sound. Through this the conversation becomes more mechanical, imitating the ongoing industrial atmosphere. The part that disrupts this is the sounds of whimpering and sucking that are heard in between pauses of the conversation. At first the viewer is unaware of the source of these sounds, adding even more to the uncomfortable nature of the conversation. Eventually we see a number of puppies suckling on their mother. This is one of the first images of life we see in this world other than the human characters. Nonetheless, we see that life, something usually beautiful, is being portrayed as awkward and distressful to interact with. This imagery is also foreshadowing the next scene when Henry discovers that he is a father and recognizes the fears he has of fatherhood.
Although the film is highly praised, a critique that some have with Eraserhead is its lack of a legible theme. Many have tried to bring meaning to the film saying it is about abortion, fear of parenthood, or suicide. Critics also say that the sound adds to this convoluted nature, making the film impossible to interpret. Despite these opinions, I would argue that the sound actually creates a meaning far beyond a simple, easily understood theme. Jason Southworth, a researcher of philosophy, says “ Lynch purposely blurs the lines between what should be understood as real and what is intended to be understood metaphorically” (190). This speaks to many others interpretations of this film as meant to be viewed through a dream state. Godwin describes it as “the dream experience itself” (39). In similar thought, Hainge describes it as a “peculiar logic”, a logic explained through the complex noise of the soundscape (180). The strange, overwhelming, and constant noise of the film is actually an aural representation of the logic through which Lynch is working. In response to the convoluted nature of the film, it is meant to be that way. It is describing something through an experience that is inaccessible in a logical sense.
Sexuality as a Theme
Sound design is used in David Lynch’s films Blue Velvet and Eraserhead to further sexual undertones and themes that are introduced. Many of Lynch’s films, especially Blue Velvet and Eraserhead, explore ideas involving sexual relations. Through both of these films Lynch uses sound, through songs and specific sound effects, to convey or enhance these ideas. Many of his themes are not explicitly stated, but can be picked up through these subtleties. Blue Velvet focuses mainly on the use of appropriated pop songs to carry the weight of its subject. This phenomenon was discussed earlier in the essay, however it primarily come into play when discussing the sexual undertones in the film. The song “Blue Velvet” definitely takes part in this, but these ideas most clearly manifest in the scenes where the song “In Dreams” by Roy Orbison is performed.
The song “In Dreams” is heard in multiple scenes and is performed by two different characters. The first scene where this song is heard is after Frank takes Jeffrey and Dorothy on a “joyride”. He brings them to Ben’s house, who is Frank’s friend and drug dealer. This place seems to be a hangout for their group of goons and is also revealed to be the place where Dorothy’s son is being held captive. Ben, described as a “suave fucker” by Frank, is a flamboyant man who speaks politely and wears white powder and makeup on his face. At Frank’s request Ben “sings” the song “In Dreams”, lip-synching the words into a trouble light along to the track. While Ben is performing, Frank is intently watching him, mouthing along the words. Copenhafer, a professor of literature and film at the University of Pennsylvania, describes him as positioning himself “so close to Ben as to be just as much “onstage” as his friend” (150). This separates these characters from the others in the room, creating an intimate moment between them. As the song continues Frank becomes emotional through the experience, eventually becoming frustrated at himself for this. At this point he interrupts the performance ordering everyone that its time to go.
Stylized Eraserhead cover image
Blue Velvet cover image
Opening scene to Blue Velvet with Bobby Vinton's version of the song playing
Scene at the night club with Dorothy's version of the song
Henry walking through the industrial wasteland
Dialogue between Henry, Mary X, and her mother
Ending scene of Eraserhead when the Lady in the Radiator and Henry embrace
Lynch and sound designer Alan Splet created the most prevalent sounds; the dense industrial noise occupying the aural space throughout the entire film. This is heard in one of the first scenes when Henry is walking through the “inhospitable urban wasteland” that is the world he inhabits (Olson 61). This scene introduces the constant noises that Greg Olson, the Film Curator of the Seattle Art Museum, describes as “A hissing and whistling, a roaring and rumbling of unseen masses and forces shifting for unknown purposes. An infernal chugging that dwarfs and mocks Henry’s organic human heartbeat” (61). From this point on these sounds, or their ambient variations, are heard for the rest of the film. It sets up an atmosphere that mimics and complexes the imagery seen and aurally pushes the loneliness and helplessness that Henry is feeling. Mike D’Angelo, a writer for AVI Film, states “Even when Henry is just walking the streets of Philadelphia at the outset of the film, he’s doing so within an evocative aural landscape that mirrors the visual one” (D’Angelo). This constant soundscape also provides a sense of continuity throughout the film. Due to the ideas not being completely concrete, this adds an element of depth for the viewer to analyze and connect back to what is happening visually.
Ben singing "In Dreams" to Frank
There is a strong consensuses among analysts of this film that this scene gives a glimpse into illogical sexuality that coincides with convoluted freudian theories that can be related to the film. There is an obvious play between the masculine and the feminine roles, not only with the imagery, but within the history of the song. The historical knowledge of Orbison as a pop singer is important for understanding the use of “In Dreams” in the film. Peter Lehman, the Director of the Center for Film, Media, and Popular Culture at Arizona State University says in his analysis, “Orbison’s melodramatic style is part of a complex and original rock aesthetic that challenges conventional, normative masculinity” (118). In an almost exact thought Reed states, “Much like Orbison himself, Ben embraces and presents an unconventional manliness; both foreground a vulnerability typically coded as feminine, though Orbison’s persona is less one-sided thanks to his rock stardom, a traditionally masculine position” (7). Both authors recognize the fact that Orbison is a part of a non-traditional masculinity that carries into the use of “In Dreams” in the film. Although Ben is obviously a part of this idea, Frank can also be seen as not “traditionally masculine” with hints towards his possible homosexuality in the scene. However, the difference between these characters is that Ben has accepted this and Frank has not. That is why he becomes frustrated at the fact that he is so emotionally moved and invested in Ben and his performance.
The second scene where this song is heard is when Frank takes Jeffrey out in the middle of nowhere to beat him up, this time taking on the role of the performer. In this scene Frank sings along to the track “In Dreams” playing from his car, repeating specific lyrics to Jeffrey right after they have been sung by Orbison. Through his repetition Frank is transforming the meaning of the lyrics into something more violent, coinciding with his violence towards Jeffrey. Walter relates this scene to the well known Oedipus complex developed by Freud. In this instance Dorothy is the mother, Frank is the father, and Jeffrey is Oedipus. This explains why Frank is angry with Jeffrey, for taking over his position in relation to Dorothy. Walter says that in this scene “the father is asserting his power violently not just on the mother, but also on the challenger son” (Walter). Both scenes hint at these implications of sexual theory through the use of Orbison’s songs.
Frank singing "In Dreams" to Jeffrey
Eraserhead also attempts to analyze sexuality as a theme through its use of sound. However, it doesn't do so purely through song, but mostly through certain sound effects placed in juxtaposition with the imagery. A scene that clearly exemplifies this is when Henry is cheating on Mary with his beautiful neighbor. While they are having sex the baby is in the room constantly crying. The neighbor is obviously disturbed by this, but Henry doesn't seem to care, clearly describing his attitude towards his child. However in the next scene when Henry tries again to see his neighbor, she is with another man. Shot from her perspective, his child’s head is visually seen in place of his and she turns away, immediately uninterested. Godwin says, "This inhuman (yet still oddly human) creature, which lies unmoving on the table from its first appearance, somehow seems to be in control” (42). This idea of the child being in control is seen in the juxtaposition of sounds in the sex scene. The child’s crying is clearly heard and is disrupting not only Henry and his neighbor, but also the viewers watching the scene. This is related to the theory that the theme centers around Henry’s unwanted fatherhood. In his mind the baby is a burden in his life, but still remains as something he cannot escape. Lynch, again, uses complimenting sounds and imagery as a method to portray these sexual undertones.
Henry's baby
Henry with the head of his baby from the neighbor's perspective
The Role of Artistic Film
Lynch as an artist and director has successfully redefined how an artistically made film can exist in the world. Through his interest in all aspects of film making including writing, directing, and of course sound design, he is able to have complete control of how his films are formed and ideas conveyed. I think these characteristics of Lynch are ones that need to be acknowledged and studied as a way to create meaningful work in the film industry. Especially today in our consumerist society, many films are created to tend to the superficial and fleeting thought. However, Lynch instead draws an audience in with his surrealist imagery, complex soundscapes, and the use of familiarity to reveal an important idea or theme. He causes us to search within ourselves and contemplate the human experience, forcing us to become present within our environment and community. Lynch is an artist who should be admired not only for the ideas he conveys, but through the medium in which he conveys them.
Works Cited
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D’Angelo, Mike. “David Lynch Shows how Audio can be Creepier than any Image in
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Hainge, Greg. Noise Matters Toward an Ontology of Noise. Bloomsbury Academic,
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Attributions
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Lynch, David. “Dorothy’s first song in Blue Velvet.” Youtube, uploaded by ChatooonOfWaterloo, 27 Jul. 2011, https://www.youtube.com/watch?v=gHFk0Asaxuo. Accessed 6 Dec. 2017.
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