Spine # 725

Eraserhead is a film that gives you just enough rope to hang yourself with. All of the films of David Lynch that I’ve seen (minus The Elephant Man) seem to be like this. The heavily industrialized setting. Our protagonist Henry, who seems scared of everyone he encounters. Even though the worst is yet to come, including the arrival of his newborn “child.” There’s so much to grab onto in the film. But you never feel secure in this environment, with any of the people who inhabit it, or with it’s message.

That message, according to Lynch, can vary depending on the viewer. He’s been reluctant to speculate on what it all means. And that’s partly due to the fact that “bring so much of what makes them react,” according to the director. That’s a major part of this film’s appeal. Are you concerned about pollution and it’s harmful effects on this generation (and the next)? That’s what this film is about. Are you getting ready to meet the parents for the first time? That’s what it’s about. Are you filled with pre and/or post-natal fears over your new role as a caregiver? Then that’s what the film is about for you. As you watch this film, keep in mind that none of these analyses are likely to conform to Lynch’s view of the film. Even though he’s remained mum on the subject, Lynch has noted that “no one, to my knowledge, has ever seen the film the way I see it.”

It’s a wonderful reminder that not having all the answers isn’t a bad thing. Nor is seeking out an explanation for things that confound you. The beauty of a film like Eraserhead is found in its abstractions. It’s that grey area which prompts both wonder and bewilderment in the same sitting. Sometimes, something not making sense is a really good thing.