This was always a rough watch, and that feeling has only increased over time. However, I do have two reasons for including it as a modern classic. This was David Lynch’s first studio film, the one he made after Eraserhead. At that time there was no way to know what would happen with his specific talent being used on what would become his most accessible work until The Straight Story. The other element I’ve never been able to shake is the anamorphic Black & White photography by Freddie Francis, my #1 pick for the greatest modern use of Black & White.
Creatively, it was an audacious move, as this combination of formats had not been utilized on a major film for more than a decade; Francis himself had not shot a black-and-white feature in 15 years. His work on Sons and Lovers caught Lynch’s eye, as the director later said. “The photography was about light and dark, and it had a mood. It had such a great look that it seemed only natural to hire Freddie.” The entire cast led by Anthony Hopkins and John Hurt do excellent work, but they’re secondary to the stark lighting and Art Direction.
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