This represents one of the real joys of Lynch’s work in general, and some issues that keep individual works operating in the microcosm. My central problem with the movie is that Sailor and Lula’s story barely intersects with the majority of Marietta’s story for the large bulk of the movie’s run time. Driving away from Cape Fear, North Carolina and breaking parole, Sailor gets pursued by several assassins hired by Lula because Sailor may know some terrible secret from Marietta’s past since Sailor was once the driver to Santos, a local gangster she has a relationship with. It is the story of Sailor and his girlfriend Lula, taking a road trip after Sailor gets out of jail after several years for the killing of a man who pulled a knife on him at the behest of Lula’s mother, Marietta. Made during the production of Twin Peaks‘ original run, it shares a similar embrace of soap opera conventions to an extreme, putting it somewhere on the border between straight telling of a story within the genre, homage, and satire.
Adapted from the novel by Barry Gifford, Wild at Heart is a combination of Badlands, The Wizard of Oz, and Blue Velvet thrown into a blender and set on the highest setting.
This is probably the most extreme example of the combination of wildly variant tones that David Lynch revels in. #10 in my definitive ranking of David Lynch’s films.
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