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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.
大卫•林奇(David Lynch)，这位美国电影制片人，以创造令人不安的世界观并深入探讨美国潜意识中的恐惧与欲望而闻名，享年78岁。他的家人在社交媒体上宣布了他的死讯，但未透露死因；林奇在2020年被诊断出患有肺气肿，去年他曾公开表示自己几乎被困在家中。
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.
林奇属于那种艺术家群体，他们的名字不仅定义了一种风格，也定义了一种世界观。他的作品——尤其是《橡皮头》（1977年）、《蓝丝绒》（1986年）、《穆赫兰道》（2001年）和电视剧《双峰》（1990年）——通过包罗万象的画面与声音展现了古怪、不体面、畸形和野蛮，这些特质都潜伏在日常生活的另一面。他既是鲍勃大男孩奶昔（Bob’s Big Boy）的热情追随者，也是弗朗西斯•培根(Francis Bacon)的忠实崇拜者。
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.
他于1946年1月20日出生在蒙大拿的米苏拉，父亲是美国农业部的研究科学家，母亲是一名英语教师。他的成长充满了温馨的美国风情：作为美国童子军(Boy Scouts of America)的高级成员，他看着父亲戴着灰绿色的十加仑帽子去上班。在华盛顿州斯波坎生活了几年后，林奇一家搬到了东部，在那里，林奇在遇到朋友的父亲——一位全职艺术家后，开始热爱绘画。
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.
林奇在视觉艺术方面的起步培养了他后来在电影中对质感和生动表现的倾向，这种电影深入人心。他在宾夕法尼亚美术学院学习绘画，并且——就像他在其他居住地一样——后来将费城的城市衰败转化为《橡皮头》中阴暗的后工业半世界。接下来，动态影像吸引了他；他早期的短片《六个生病的人》（1967年）是一幅动画画作。
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.
林奇在美国电影学院开发了《橡皮头》，并成为该学院1970年导演班的一员。该片讲述了一个面容憔悴的孤独者生下了一个类似鸟的婴儿的故事，拍摄耗时四年，期间林奇有时甚至在片场过夜。作为20世纪70年代新好莱坞中的异类，他那完全成型的创作愿景超现实且怪诞，是对一个充满焦虑的战后家庭的表面和情绪的极端特写。该片于1977年在曼哈顿市中心上映，成为午夜场的热门影片。
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.”
一位好莱坞制片人观看了一场放映会，出人意料地将林奇与一个项目和一个支持者联系起来：电影《象人》，其不太可能的执行制片人是喜剧传奇人物梅尔•布鲁克斯(Mel Brooks)，他将林奇的作品与贝克特和尤内斯库相提并论。1980年上映的这部电影由约翰•赫特(John Hurt)饰演约翰•梅里克(John Merrick)，为林奇赢得了奥斯卡最佳导演提名。1984年上映的《沙丘》由名不见经传的凯尔•麦克拉克伦(Kyle MacLachlan)主演，令导演在创作上彻底失望。正如林奇谈到迪诺•德•劳伦提斯(Dino De Laurentiis)时所说：“当我和迪诺第一次交谈时，他还没有看过《橡皮头》，所以我脑子里有很多他不知道的东西。事实上，当他最终看了这部电影时，他讨厌它。”
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来的代表作中。《蓝丝绒》将栅栏围绕的里根时代郊区描绘成一个既有俗气的歌鸟，又有吸食笑气的虐待狂（丹尼斯•霍珀(Dennis Hopper)）折磨夜总会女歌手（伊莎贝拉•罗塞里尼(Isabella Rossellini)）的地方。麦克拉克伦饰演一个年轻的侦探，与劳拉•邓恩(Laura Dern)对戏。四年后，在《双峰》中，林奇让他饰演一名调查劳拉•帕尔默(Laura Palmer)谋杀案的美国联邦调查局(FBI)特工。该剧成为一种现象，以新奇和不可解释的深度挑战了电视的同质性。
“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.”
“这完全是关于看到那隐藏的一面，”林奇在《橡皮头》和《蓝丝绒》中的摄影师弗雷德里克•埃尔梅斯(Frederick Elmes)在去年的一次采访中这样谈到林奇的兴趣。这种视角在《迷失高速公路》（1997年）的分裂人格赋格中得以延续，这部电影为2001年《穆赫兰道》的洛杉矶幻影做了热身准备。《穆赫兰道》最初是为电视制作的，如今被广泛认为是林奇的巅峰之作，同时让另一位鲜为人知的演员娜奥米•沃茨(Naomi Watts)崭露头角，她饰演一位坠入好莱坞兔子洞的天真少女。在昨天的一则社交媒体帖子中，沃茨写道：“每一次与他共处的时刻都充满了一种我极少见过或体会过的存在感。或许是因为，是的，他似乎生活在一个异于常人的世界中。”
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.
林奇还执导了一部温馨的日落田园诗《直线故事》，同时还参与了一些一次性的电视和音乐项目。此外，他坚持并倡导定期的超验冥想练习，并重拾了绘画的根源。但这位导演在《双峰：回归》（2017年）中达到了另一个动态影像的巅峰，这是一部对美国原子时代恐惧和死亡遗产的黑暗而美丽的冥想。
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.
他凭借令人惊叹的个性、古怪的正直和冷面幽默，继续吸引新一代的粉丝。但真正打动人心的是他的真诚，以及他那不协调却扭曲的艺术，深入探究美国灵魂中的黑暗与光明。他结过四次婚，现有四个子女在世。