![]() Let’s consider first the shape of Eldredge’s proposal that men are “ Wild at Heart.” In particular, we are concerned that the embrace of Wild at Heart by men in the Reformed tradition is a symptom of a wider phenomenon: an accommodation to broader cultural forces, including an embrace of generic “evangelical” theology and practice that, upon closer inspection, is at odds with the distinctives of biblical, Reformed faith and practice. The Irish musical group U2 articulated this longing well when they crafted the song, “I Still Haven’t Found What I’m Looking For.” Unfortunately, although Eldredge has asked the right questions, he offers solutions that are sometimes misguided and at other times patently wrong. So it is understandable that Eldrege searches to discover that certain “something” that we’re all longing for. Wild at Heart is insightful in noting that men live unfulfilled lives, searching to satisfy a vaguely unsettling malaise. Our interest in the Wild at Heart phenomenon was triggered by the attention the book was receiving in dorms on the campus where we teach, as well as in local churches. It has also been the focus of men’s Bible studies both at churches and on college campuses across America. And your community is not alone: the book has sold over a million copies and spawned a cottage industry of retreats, conferences, and spin-off products. USA | 1990 | 125 MINUTES | 2.Have rifle sales started to soar at the local Wal-Mart? Are friends discussing white water rafting and rock climbing for the first time? Are church council disagreements now settled with fisticuffs instead of votes? If you answered yes to one or more of the previous questions, chances are that the men in your community have just finished reading John Eldredge’s Wild at Heart: Discovering the Secret of a Man’s Soul (Thomas Nelson, 2001). and it may prove to you that, as Lula says, “the whole world is wild at heart and weird on top.” It’s certainly true to the unique creative vision of David Lynch. As Willem Defoe said, “we all want to take a walk in that strange world.” It’s probably the most lyrical, uplifting two-hour introduction to the world of David Lynch…. ![]() It’s about capturing the elusive gold such as true love as experienced by Sailor and Lula, or the perfect creative moment which Lynch forever strives toward. This is style with a heart that gets us slightly closer to the truth of things, to the “heart of creation” as artist Paul Klee once said. I remember reading On the Road and being moved by the tender little things, like the sudden feeling of being at the edge of an abyss after a peak experience, and mundane factors such as Sal Paradise (Jack Kerouac) making pastrami and mustard sandwiches while waiting for a bus from Los Angeles to Pittsburgh. As Laura Dern observed in a contemporary interview, Sailor could be Elvis and Lula could be Marylin Monroe… on the road and visiting the strange underbelly of that dream. It just feels so right to Lynch fans such as I, and Wild at Heart has always struck a chord with me. It’s still sometimes criticised for containing more style and random violence over emotion, but to my mind, it’s a poetic and lyrical rendition of the American dream. Lynch also worked with Angelo Badalamenti on the music score, having worked together on Blue Velvet and Twin Peaks. Lynch even directed the latter music video, including scenes of Sailor and Lula in-between black-and-white footage of Isaak. The soundtrack also includes Cage’s rendition of another Elvis classic “Love Me (Treat Me Like a Fool)”, as well as the blues classic “Baby Please Don’t Go”, extracts of “Slaughterhouse” by Powermad, and the contemporary Chris Isaak song “Wicked Game”. A beautiful ending and beginning to another chapter of their lives. Yet at the end, Lula is stuck in a traffic jam which allows Sailor to catch up with her and finally sing “Love me Tender” to her on the bonnet of her car-the one song he told her he’d only ever sing to his true love. On their night drive through the desert they stop at the scene of a fatal car accident, and on her way to meet Sailor after his parole, Lula tells their son Pace to hide his eyes from the scene of a car crash… random acts that seem to be either divine intervention or demonic attempts to derail the path of true love. ![]() The theme of car accidents runs through the movie, too: Lula complains to Sailor about the increase of accidents on the road, before telling Sailor that the sinister ‘Uncle Pooch’ who introduced her parents to Carlos Santos and raped her as a teenager, died in a mysterious car accident.
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