How The Elephant Man is Stylistically Similar to Eraserhead: with Twin Peaks Bonus

A black and white David Lynch directed film with a deformed individual and a nightmarish setting. That quick description can sum up both The Elephant Man or Eraserhead quite easily. The Elephant Man, David Lynch's first mainstream film from 1980, still holds many stylistic values from Lynch's 1977 art house debut, Eraserhead. Below are visual examples of nearly identical themes and mise en scene, and also SPOILERS abound!

Right off the bat, both films have cool double exposures.

But those cool double exposures have deeper meanings behind them concerning creating life, and the fragility of that life. Both films discuss the theme of giving birth to something deformed and irregular. In Eraserhead Henry, the main protagonist, has dinner at his girlfriend Mary X's parent's house. Mrs. X grills Henry about his sexual relationship with Mary and breaks the news that Mary gave birth to... something. 

"Mother, they don't even know if it is a baby!"

In this scenario the product of sex is more than the responsibility of a child, it's an abomination against humanity. It's a punishment and a shame.

Beautiful mothers.

In The Elephant Man, John Merrick (the Elephant Man) is known to have a beautiful mother and no known father. The opening shots imply that his mother was raped by elephants, causing his deformity, but that is obviously highly improbable, and more of a fantasy origin story. Though the thought of bestial rape is horrible, it is maybe somehow less horrible than the hard truth of raping a fellow human being, or that diseases like neurofibromatosis exist.

This is a frame from the beginning of The Elephant Man, showing Dr. Treves (Anthony Hopkins) walking through the freak show, and it sums up the film in a matter of a second.

I noticed that the sign here says "The Fruit of the Original Sin" and it shows only Eve, the tempting snake, and a fetus in a jar. It's hard to see the fetus, but one can assume that it was deformed by the mere fact it's featured in a freak show. The symbolism is huge here, showing only the mother, no father, and the animal this poor soul is associated with, very much like John Merrick's story. It's obvious that the "original sin" here is copulation, and the "fruit" is the deformed child.

The two main protagonists of The Elephant Man are Dr. Frederick Treves and John Merrick. The two main characters of Eraserhead are Henry and "the baby." It can be argued which characters are the lead or supporting. Connections between John Merrick and the baby can be bridged by the superficial idea that they are deformed.

The baby

The baby, regardless of it's deformities, is still a baby, and therefore cannot do much more than cry and exist. John Merrick is an individual who's initial worth was only to exist for a freak show, but despite his difficulties communicating, is found to be a man capable of higher thought and appreciation of the arts.

John Merrick

Both individuals have handicaps, and must be looked after. The baby is never moved from it's pillow bed. It is always swaddled, but when Henry decides to cut off the wrapping all Hell breaks loose, and it is clear (well maybe not clear) that the baby needed the swaddling.

John Merrick must sleep very awkwardly hunched forward with his head between his knees. If he were to sleep flat on his back like a regular person, he would suffocate and die.

He also has a covering; the hood and cloak he wears in public.

In viewing the visual similarities between these films, the use of men's suits struck me as well. Of course John Merrick wore a suit like any other man from his time period. Having him wear a suit was not a stylistic choice of Lynch as much as a necessity to properly tell this true story.

The nightmare scene in Eraserhead, (or is it all a nightmare? -  no one can really know, but this was the most surreal part of the film, so let's refer to it as "the nightmare") when the baby's head replaces Henry's, is a visual precursor to the deformed John Merrick wearing the gentleman's suit. This scene in is obviously symbolic of Henry's paternity to the infant, and the horror of this truth. The Elephant Man becomes a functioning member of British high society, because he is a man - not an animal - and he is someones child, despite the horror that may bring some people.

The sets in The Elephant Man are stylistically similar to Eraserhead. Lynch made Eraserhead's setting an industrial fever dream based on his experience living in Philadelphia. Therefore the sets are filthy, metallic, and treeless.

Eraserhead

They are filled with pipes and barrels and valves. The sound of trains, machines and steam fill the soundtrack. Steam is it's own character in Eraserhead. In the industrial wasteland Lynch places his characters, it hangs in the air around buildings, and hisses out of radiators in homes.

Mary X's house, Eraserhead

Grim, industrial, smoking, steamy, with virtually no natural beauty; nineteenth century life in Europe was the perfect palate for Lynch following Eraserhead.

French circus camp, The Elephant Man

Grimy windows are a given in this atmosphere. Both films feature a "looking through a dirty window" scene.

I think Henry is here.

Mr. Treves looking for John Merrick.

Sad studio apartments are also something Henry and John Merrick have in common.

At least I have that paper church I'm building.

At least I have my mound of dirt.

Unbelievably grim realities aside, it wouldn't be a David Lynch film without a creepy dream sequence.

A hole from Eraserhead.

Lynch used rings and holes in Eraserhead as portals to apparent dream sequences and/or and changes in time. Twin Peaks also uses the symbol of the ring throughout the series, ultimately as a reference to the opening of The Black Lodge. In The Elephant Man, Lynch used the hole/ring symbol again to introduce John Merrick's dream sequence.

Sucking the viewer through the one eye hole in John Merrick's modesty hood, we are drawn into his insecurities, his fears, and general view of life. This shot below from the dream sequence is of men working in a factory.  

This could be an actual  machine and factory process for all I know, but since it's David Lynch, and a dream sequence, I won't rule out that it's just a completely made up surreal action.

It reminded me of the "Man in the Planet" (as he is referred to on IMDB). Shirtless, men of industry. Just replace the steam with sparks.

Throughout Lynch's works gross close-ups can be found in almost any film project. It is still worth noting that Lynch took that instinct from his first film, Eraserhead, and included it in The Elephant Man.

The baby's eye in Eraserhead.

The elephant mouth is nearly unrecognizable, but it visually calls back to John Merrick's lumpy disfigurement; a closer match to his ailment than the external view of the creature he is named after.

Inside the elephant's mouth in The Elephant Man.

Both films have concluding scenes with angelic figures presumably taking the protagonist to Heaven.

"In Heaven everything is fine."

In Eraserhead the Lady in the Radiator makes several appearances in Henry's fantasies, and she once again meets him in a blinding white light. She embraces him in the white light and resounding humming sounds after the sequence of his apparent beheading.

After John Merrick lays down for his first and last peaceful slumber, his mother's face appears in a halo in the stars making this comforting statement: "Never. Oh, never. Nothing will die. The stream flows, the wind blows, the cloud fleets, the heart beats. Nothing will die."

When I first watched the The Elephant Man, I heard that familiar Lynchian roar. It's when he takes the sound of a woman screaming and slows it down so the voice deepens and distorts. The Elephant Man must have been one of the first instances of this. John Merrick's mother is felled by a group of elephants and her screams sound like the elephant's roar.

Cut to 1:15 to hear the GIF above.



One of the best examples of this sound effect in Lynch's work is in episode 14 of Twin Peaks. When cousin Madeline is attacked by Bob, the scene toggles back and forth between regular speed and slow-mo. Her voice is deepened as she screams, sounding like an animal, a roaring fire, or Bob's own maniacal laugh.

Cut to 2:25 to hear the slow-mo scream.



In Fire Walk With Me, Laura Palmer has a painting in her room of an angel sitting at a table with children. It looks like an illustration that would be in a child's room.

Laura, having lost her innocence long ago, sees the angel disappear, symbolizing her lost innocence, lost hope, and the idea that the angel is no longer looking after her.

This painting is referenced to several times in Fire Walk With Me, while a similar framed illustration in John Merrick's room is only seen at the very end of The Elephant Man.

This illustration of a sleeping child represents the peace and a normalcy that John wished he had. As mentioned earlier, due to his condition, John Merrick had to sleep sitting up with his head between his knees. After being honored at the theater, and having one of the best nights of his life, John studies this illustration and seems to decide he wants to sleep that way. John is well aware of the danger.

Going to sleep like a regular peaceful child was just the cap to his wonderful day in his life, and he did not believe it could get any better. The act was apparent suicide, and definitely not a naive action. He sees this illustration soon before his death much like Laura Palmer sees the angel disappear soon before hers.

Also, Laura Palmer went to Heaven too.

Sweet dreams!

The First Taste: I Dug Up A Bad Fiona Apple Video

Side note before I begin: September really flew by. I wanted to get this post out before October, but my poor excuse is that I move to Brooklyn and spent most of my time looking for a job, and or had trouble focusing on other projects throughout this transition period. Thank you for continuing to read this blog, and I assure you, I have no intention of stopping despite my hiatus. Let me begin with a reference to a year-old post.

The post, I've Been A Bad Bad Girl, analyzed Fiona Apple's Criminal video and compared it to Miley Cyrus's video for We Can't Stop - because Miley Cyrus was all the rage back then and I'm a huge Fiona Apple fan. Criminal is a great video (obviously, it won a VMA and was directed by Mark Romanek), and Apple's other videos off of her debut album, Tidal, were enjoyable to watch as well. Sleep To Dream was moody and used cool special effects. Never Is A Promise didn't have a narrative, but it was gorgeous seeing Apple floating over the New York City streets at night.

Still from Sleep To Dream

Still from Never Is A Promise

Those were the only videos I knew of from Tidal, until I was watched a Fiona Apple video mix on YouTube. I came across a rare music video that was bizarre if only for how uncharacteristically sexual and awkward it is for Fiona Apple.

The First Taste, is an uncommon and sensual love song of longing. Most often Fiona Apple is known for songs about breakups, being depressed, or unbridled hate. Even her songs about being in love typically come with a warning - that she will be really intense (i.e. Fast As You Can or Slow Like Honey). With a Spanish hip-swaying vibe, The First Taste speaks of the desire to finally get it on with the special someone you've been seeing. It's mellow, it's personal, and it's really quite unfortunate that the video for it does not express this adequately.

Besides the fact that half of the cast doesn't understand how to behave in front of a camera, the party theme that runs through the video is mismatched by the song's personal lyrics. It's kind of a train wreck, so let's watch it.

Some people were told to throw confetti and look happy. Other's were directed to be Calvin Klein models and have zero reaction what so ever. Wow, cool party guys. I can really tell you're all friends...

With some research I was able to glean that the video was never released in the US, which explains why I had never seen it - being glued to MTV during her golden era. It was surprising this video came out before Criminal, because my first thought upon watching it was, "Wow this director was trying hard to ride the wave of Criminal's illicit house party vibe, except everyone looks alive." However, The First Taste video, directed by Dewey Nicks was released in February of 1997 and Criminal debuted that June. 

The video is a perfect time capsule for 1997, which makes it fun to watch in that respect. From the hair, outfits, accessories, to the bedroom floor Fiona is lounging on like a sullen teen.

Good speakers, groovy carpet, rotary phone; add some inflatable furniture and you've got yourself a Delia's catalog.

Argyle vests.

That sweater! This shot is a millisecond long, but when I saw it with those hands in middle school dance mode, it took me back.  

Shirt. Choker. Lip liner.

Those glasses.

Sisqo Hair.

Like many videos there are several different realms we are presented. Aside from the bedroom shots, there’s close up, hair gelled back, body glitter Fiona. 

I absolutely attempted to achieve this look.

Then there's swaying, billowy sheer shirt Fiona.

She's alone, she's grooving, she's got her wrists limp while Lorde was still in diapers. 

 Walking through a house party.

The most naturally acted moment in this video and it's 2 seconds long.

Floating through a house party.

This is one of the strangest aspects of the video (but it does get weirder later). By the Law of Music Videos, a person who appears to be floating through a room is not to be acknowledged by those around her/him. This is because being the only floating person in a group of people is an obvious metaphor for how someone feels at a party - either because they're high or lonely. In this video however, no one can avert their gaze, and it's creepy has hell.

Not only are you looking at Fiona while she's having her floaty time, you look absolutely entranced by her. Why is that? What's your motivation? Director!

Some grope and kiss her like she’s some kind of sexual house party deity. It's amazing to me how Fiona could put up with this.

Oooook. This is happening.

Fiona's smiling seems forced and fake. Maybe because it's rare to see her smile in any of her music videos, and her public persona is marked by moments like her "This world is bullshit." speech at the VMAs. Shots like the one pictured below make me feel like Fiona was being heavily coached, and there was no effort left to direct the other actors.

Girl to the right of Fiona: WHO TOLD YOU TO BREAK THE FOURTH WALL?!

Really, who are you guys looking at? I could grasp the concept of Fiona floating along and only her and I were sharing this magic moment, but when the non-floating party guests are completely cognisant of her, AND they're cognisant of me? Well that's just unsettling. 

The last and most awkward vignette in The First Taste video is the purgatory room where all of the party goers seem to reside in a different time line. It is a place where they will dance to The First Taste forever - in the most stilted way because no one can really agree how to dance to this song - and take turns making out and breaking the fourth wall like nobody's business. 

And it's a rule that everyone has to sexually engage Fiona at least once. 

 Hey! Guy in the blue jacket, don't get greedy.

Hands for a second!

There is also a barrage of clips where the party-goers are getting intimate with each other, but it seemed like the director was trying to be edgy by pairing up same-sex and interracial couples. It's my opinion that the scenes were ham-fisted statements that are more political than the song is meant to be.  A cynical part of me is thinking that by 1997 displays like this wouldn't have been shocking and shouldn't have been shocking. Considering how blatant the clips are, one would think in this day and age - even seventeen years ago - it would have seemed patronizing to the demographic it's trying to reach (14-30 year olds who listen to Fiona Apple and other alternative music). That thing we used to say, "It's the 90's!" was always used to imply that we've come to a point in our society where old social taboos were to be kept in the past. Or maybe I'm wrong. 

Maybe it takes moments like these to instill a normalization that we take for granted. Racism and homophobia are not completely extinct. If Dewey Nicks had the intention to shock or give a certain group of people a voice, was he being racist or homophobic by posing the concept that these matches are a novelty or that they should be payed special attention to? Or am I racist or homophobic because from the beginning I'm approaching this noticing that the couples are consistently interracial and gay? Should I just approach this thinking, "There's just a bunch of people making out in this video."? 

But it's not just a casual scene where couples are hooking up at a party and some of them happen to be gay or interracial couples (like any real life scenario). These shots are in the "purgatory," where they're highlighted and couples are singled out. They are displayed as a novelty. The whole video is not really romantic and intimate as it is objectifying and exploitative around every corner. It makes me wonder how or if Fiona stomached this shoot. It's as if the director could only grasp the surface of the song as sensual, but not it's intimate themes (and when I say intimate I mean when a couple shares a moment together, not how eight couples decide to ignore that there are other people in the room and start Frenching). 

It's clear that the director hijacked The First Taste's most basic theme and ran with it, using his own agenda to fill in the blanks. His agenda wasn't wrong. If he wanted to make a video about couples people would have disapproved of forty years ago (and maybe a minority that would currently disapprove), he should have done it with a different song. If he wanted to make a video about a woman at a party that everyone wants to touch and she maybe likes it (?) 

That body language is not saying "no" but it's not saying "yes" either.

He should have used a different song.