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In beautiful dreams...
Dorothy’s back to the camera evokes a switch from second to first person, I tell you, because there I am, stranded in hallway somewhere between Jeffrey and Dorothy, in one of the very saddest moments in Blue Velvet. And if you loved this movie, perhaps that was because you only wanted to destroy it, literally. For real, man. To crush it beneath your heel (in the spirit of the SRL video) to wipe out the terrible truths it whispered in your ear, and when you found yourself at the unmarked Alley Bar in Ann Arbor, with an old friend, and the lights cut out suddenly in an electrical storm for just a few seconds and then when they came back on everyone’s face, bathed in red light, had changed slightly, but enough for you to notice. Shit, you said to your friend, look what’s happened! But of course his face had been transformed too (is that why he pretended not to notice, because he was one of them now?) and who knows, maybe even your face too was altered now. You needed a mirror, to see for yourself, to hold it up to the room like some sort of act from the myths and legends of vampire and zombie films, to see if all the faces had changed, had reversed themselves–in those few moments of darkness–into the image of Frank.
An excerpt from Sinatra: An American Original, originally telecast on CBS in 1965, in which Frank Sinatra is seen recording "It Was a Very Good Year." The conductor is Gordon Jenkins and the narrator is Walter Cronkite.
And the way he deals with the corpse of the taxman is to plaster it into a wall—and immediately upon doing so, the same man now disguised as a workman then pounds a nail into a precisely chosen spot in that wall so that blood rains out of the crack, revealing the body inside.
