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David Lynch, the American filmmaker who created an unnerving vision of the world and plumbed the fears and desires in his country’s unconscious, has died at 78. His death was announced by his family on social media, with no cause given; Lynch had been diagnosed with emphysema in 2020 and last year spoke publicly of being effectively housebound.
大衛•林奇(David Lynch)，這位美國電影製片人，以創造令人不安的世界觀並深入探討美國潛意識中的恐懼與慾望而聞名，享年78歲。他的家人在社群媒體上宣佈了他的死訊，但未透露死因；林奇在2020年被診斷出患有肺氣腫，去年他曾公開表示自己幾乎被困在家中。
Lynch belongs to the pantheon of artists whose name defines not just a style but a worldview. The enveloping images and sounds of his work — especially Eraserhead (1977), Blue Velvet (1986), Mulholland Drive (2001) and the TV series Twin Peaks (1990) — breathe with the odd, the unseemly, the freakish and the savage, all lurking on the flipside of daily life. Here was a beaming devotee of both Bob’s Big Boy milkshakes and Francis Bacon.
林奇屬於那種藝術家羣體，他們的名字不僅定義了一種風格，也定義了一種世界觀。他的作品——尤其是《橡皮頭》（1977年）、《藍絲絨》（1986年）、《穆赫蘭道》（2001年）和電視劇《雙峯》（1990年）——透過包羅萬象的畫面與聲音展現了古怪、不體面、畸形和野蠻，這些特質都潛伏在日常生活的另一面。他既是鮑勃大男孩奶昔（Bob』s Big Boy）的熱情追隨者，也是弗朗西斯•培根(Francis Bacon)的忠實崇拜者。
He was born on January 20 1946 in Missoula, Montana, to a research scientist for the US Department of Agriculture and an English teacher. His upbringing has the glow of cosy Americana: a high-ranking member of the Boy Scouts of America, he watched his father troop out to work wearing a grey-green 10-gallon hat. After some years in Spokane, Washington, the family resettled in the east, where Lynch embraced painting after meeting a friend’s father, a full-time artist.
他於1946年1月20日出生在蒙大拿的米蘇拉，父親是美國農業部的研究科學家，母親是一名英語教師。他的成長充滿了溫馨的美國風情：作爲美國童子軍(Boy Scouts of America)的高級成員，他看著父親戴著灰綠色的十加侖帽子去上班。在華盛頓州斯波坎生活了幾年後，林奇一家搬到了東部，在那裏，林奇在遇到朋友的父親——一位全職藝術家後，開始熱愛繪畫。
Lynch’s beginnings in the visual arts nurtured his later tendencies towards textured, vivid cinema that gets under your skin. He studied painting at the Pennsylvania Academy of the Fine Arts, and — as he would with other places he lived — later channelled the urban decay of Philadelphia into the shadowy postindustrial demimonde of Eraserhead. Moving images drew him in next; his early short film Six Men Getting Sick (1967) was an animated painting.
林奇在視覺藝術方面的起步培養了他後來在電影中對質感和生動表現的傾向，這種電影深入人心。他在賓夕法尼亞美術學院學習繪畫，並且——就像他在其他居住地一樣——後來將費城的城市衰敗轉化爲《橡皮頭》中陰暗的後工業半世界。接下來，動態影像吸引了他；他早期的短片《六個生病的人》（1967年）是一幅動畫畫作。
He developed Eraserhead at the American Film Institute, where he was part of the directing class of 1970. Shooting the story of a stricken-looking loner who fathers a birdlike baby took four years, with Lynch sometimes sleeping on set. An outlier alongside modish 1970s New Hollywood, his fully formed vision was surreal and grotesque, an extreme close-up of the surfaces and moods in an angst-ridden postwar home. Opening in downtown Manhattan in 1977, it became a midnight-movie hit.
林奇在美國電影學院開發了《橡皮頭》，併成爲該學院1970年導演班的一員。該片講述了一個面容憔悴的孤獨者生下了一個類似鳥的嬰兒的故事，拍攝耗時四年，期間林奇有時甚至在片場過夜。作爲20世紀70年代新好萊塢中的異類，他那完全成型的創作願景超現實且怪誕，是對一個充滿焦慮的戰後家庭的表面和情緒的極端特寫。該片於1977年在曼哈頓市中心上映，成爲午夜場的熱門影片。
A Hollywood producer caught a screening and, improbably, connected Lynch with a project and a backer: The Elephant Man, its unlikely executive producer comedy legend Mel Brooks, who compared Lynch’s work to Beckett and Ionesco. Starring John Hurt as John Merrick, the 1980 film earned Lynch an Academy Award nomination for Best Director. Dune, starring little-known Kyle MacLachlan, followed in 1984, thoroughly disappointing the director creatively. As Lynch said of its producer, Dino De Laurentiis: “When Dino and I first talked, he had not seen Eraserhead, so there were a lot of things in my head that he didn’t know about. When he finally saw the film, in fact, he hated it.”
一位好萊塢製片人觀看了一場放映會，出人意料地將林奇與一個項目和一個支持者聯繫起來：電影《象人》，其不太可能的執行製片人是喜劇傳奇人物梅爾•布魯克斯(Mel Brooks)，他將林奇的作品與貝克特和尤內斯庫相提並論。1980年上映的這部電影由約翰•赫特(John Hurt)飾演約翰•梅里克(John Merrick)，爲林奇贏得了奧斯卡最佳導演提名。1984年上映的《沙丘》由名不見經傳的凱爾•麥克拉克倫(Kyle MacLachlan)主演，令導演在創作上徹底失望。正如林奇談到迪諾•德•勞倫提斯(Dino De Laurentiis)時所說：「當我和迪諾第一次交談時，他還沒有看過《橡皮頭》，所以我腦子裏有很多他不知道的東西。事實上，當他最終看了這部電影時，他討厭它。」
In short order Lynch poured his mind into what became his defining work for many years. Blue Velvet depicted picket-fence Reagan-era suburbia as home to kitschy songbirds and a nitrous-huffing sadist (Dennis Hopper) who torments a nightclub chanteuse (Isabella Rossellini). MacLachlan stars as a young man who plays detective, opposite Laura Dern. Four years later, in Twin Peaks, Lynch cast him as an FBI agent investigating the murder of Laura Palmer. The show became a phenomenon, challenging the homogeneity of TV with new depths of the weird and inexplicable.
林奇很快全身心投入到他多年來的代表作中。《藍絲絨》將柵欄圍繞的里根時代郊區描繪成一個既有俗氣的歌鳥，又有吸食笑氣的虐待狂（丹尼斯•霍珀(Dennis Hopper)）折磨夜總會女歌手（伊莎貝拉•羅塞里尼(Isabella Rossellini)）的地方。麥克拉克倫飾演一個年輕的偵探，與勞拉•鄧恩(Laura Dern)對戲。四年後，在《雙峯》中，林奇讓他飾演一名調查勞拉•帕爾默(Laura Palmer)謀殺案的美國聯邦調查局(FBI)特工。該劇成爲一種現象，以新奇和不可解釋的深度挑戰了電視的同質性。
“It’s all about seeing that underside,” Frederick Elmes, Lynch’s cinematographer on Eraserhead and Blue Velvet, said about Lynch’s interests, in an interview last year. That view continued with the split-personality fugue of Lost Highway (1997), a warm-up for the Los Angeles phantasmagoria of Mulholland Drive (2001). Originally developed for TV, the latter is widely regarded as Lynch’s masterpiece, launching another little-known actor, Naomi Watts, as an ingénue falling down a Hollywood rabbit hole. In a social media post yesterday, Watts wrote: “Every moment together felt charged with a presence I’ve rarely seen or known. Probably because, yes, he seemed to live in an altered world.”
「這完全是關於看到那隱藏的一面，」林奇在《橡皮頭》和《藍絲絨》中的攝影師弗雷德裏克•埃爾梅斯(Frederick Elmes)在去年的一次採訪中這樣談到林奇的興趣。這種視角在《迷失高速公路》（1997年）的分裂人格賦格中得以延續，這部電影爲2001年《穆赫蘭道》的洛杉磯幻影做了熱身準備。《穆赫蘭道》最初是爲電視製作的，如今被廣泛認爲是林奇的巔峯之作，同時讓另一位鮮爲人知的演員娜奧米•沃茨(Naomi Watts)嶄露頭角，她飾演一位墜入好萊塢兔子洞的天真少女。在昨天的一則社群媒體貼文中，沃茨寫道：「每一次與他共處的時刻都充滿了一種我極少見過或體會過的存在感。或許是因爲，是的，他似乎生活在一個異於常人的世界中。」
Lynch also directed a sweet sunset idyll, The Straight Story (1999), and a torturous trip through the digital looking-glass, Inland Empire (2006), along with one-off TV and music projects. Meanwhile he adhered to and stumped for a regular transcendental meditation practice and returned to his roots in painting. But the director achieved one more moving-image pinnacle with Twin Peaks: The Return (2017), a darkly gorgeous, cracked meditation on an American atomic-era legacy of dread and death.
林奇還執導了一部溫馨的日落田園詩《直線故事》，同時還參與了一些一次性的電視和音樂項目。此外，他堅持並倡導定期的超驗冥想練習，並重拾了繪畫的根源。但這位導演在《雙峯：迴歸》（2017年）中達到了另一個動態影像的巔峯，這是一部對美國原子時代恐懼和死亡遺產的黑暗而美麗的冥想。
He continued to attract new generations of fans though his gee-whiz persona, oddball integrity and deadpan humour. But his genuineness was the real thing, as was his incongruously twisted art, peering into the darkness and light in the American soul. He was married four times and is survived by four children.
他憑藉令人驚歎的個性、古怪的正直和冷麪幽默，繼續吸引新一代的粉絲。但真正打動人心的是他的真誠，以及他那不協調卻扭曲的藝術，深入探究美國靈魂中的黑暗與光明。他結過四次婚，現有四個子女在世。