A Cinematic Gem of the 60s: Unveiling the David Lynch's Neo-Noir Inspirations

The Big Picture

Experiment in Terror influenced David Lynch's signature style, with similarities in its atmospheric score and setting to Twin Peaks and Blue Velvet.

The film's exploration of psychotic murderers, twisted deeds, and undisclosed truths reflects the elements commonly portrayed in Lynch's renowned works, including Blue Velvet and Twin Peaks. The antagonist of Experiment in Terror, Red Lynch, exhibits similarities to infamous characters in Lynch's films, such as Frank Booth in Blue Velvet and Bobby Peru in Wild at Heart.

David Lynch's distinctive stylistic trademarks have earned him a prominent place in contemporary cinema, with his influence so significant that it has prompted the inclusion of the term "Lynchian" in the Oxford English Dictionary. Despite his originality, Lynch draws inspiration from a specific range of sources. His noir-tinged worlds, where sinister criminals lurk in the hidden corners of small towns and American suburbs, particularly his groundbreaking series Twin Peaks, bear a debt to Blake Edwards' exceptional 1963 noir film Experiment in Terror.

This brooding and atmospheric neo-noir revolves around Kelly Sherwood (portrayed by Lee Remick), a young woman plagued by psychological terror inflicted by an asthmatic killer named Garland "Red" Lynch (played by Ross Martin), who coerces her into participating in a bank heist. Experiment in Terror is an extraordinary film and one of the most unjustly overlooked noirs. It comes as no surprise that Lynch found inspiration in it. As arguably the most influential figure in popularizing postmodern surrealism in contemporary cinema, Lynch has created his own cinematic language, drawing from films like Experiment in Terror and transforming them into something beautifully bizarre.

How Did ‘Experiment in Terror’ Influence David Lynch?

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When exploring the presence of Lynchian elements in Experiment in Terror, one needs to look no further than the film's captivating opening minutes. The smooth and jazzy score by Henry Mancini, played during the opening credits, bears a striking resemblance to forgotten gems from the soundtracks of Twin Peaks or Blue Velvet. The hauntingly distorted surf rock tones of the slow twangy guitar are reminiscent of the eerie sounds that accompany The Arm's enigmatic dances in the Red Room. Angelo Badalmenti's iconic score for Twin Peaks, a mesmerizing tapestry of unearthly sounds and moods, is revered as one of the most memorable television soundtracks of all time. Interestingly, traces of this sonic universe can be found in Experiment in Terror, nearly three decades prior to the creation of Twin Peaks.

The film's setting also adds to its Lynchian undertones. As the credits come to an end, the location is revealed as Kelly drives past a sign directing her towards the suburban area named Twin Peaks. However, unlike Lynch's series set in Washington state, this particular Twin Peaks is unmistakably situated in San Francisco. Furthermore, the killer in the film, Garland "Red" Lynch, may have possibly influenced the name of Major Garland Briggs (portrayed by Don S. Davis) in Lynch's series.

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What sets Lynch apart even more, however, is his distinct style of filmmaking, heavily influenced by a particular film. This film shares numerous themes with Lynch's works: the deranged murderer hell-bent on terrorizing young women, the sinister manipulation of innocent girls by men, and the unsettling secrets lurking beneath the facade of a seemingly tranquil town. In Experiment, a young and pure observer is thrust into a world of criminality due to the malevolent machinations of a cruel mastermind, akin to the narratives presented in Blue Velvet and Twin Peaks.

And then comes the antagonist. Red Lynch seems to be a combination of Frank Booth (Dennis Hopper), Killer BOB, and Willem Dafoe's bone-chilling Bobby Peru from Wild at Heart. When Red Lynch forcefully seizes Kelly and whispers foreboding threats in her ear, it mirrors the "say fuck me" scene with Bobby Peru and Lula Fortune (Laura Dern). Furthermore, when Red compels a teenager to undress to her underwear, it bears a striking resemblance to a scene in which Frank Booth does the same to Dorothy Vallens (Isabella Rossellini). When Red camouflages himself as an elderly woman to secretly pursue Kelly, it is reminiscent of the Twin Peaks moment when Windom Earle (Kenneth Welsh) disguises himself as The Log Lady (Catherine E. Coulson). All these parallels exist and are relatively straightforward to identify.

‘Experiment in Terror’ Is a Crucial Transition Between Both Classic and Modern Noirs

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Experiment in Terror is a groundbreaking film that anticipates the emergence of gritty neo-noirs like those created by renowned directors such as The Coen Brothers, Michael Mann, and David Lynch. This movie successfully bridges the gap between the classic noir era and the darker, more intense thrillers that would dominate cinema in the following decades. With its masterful cinematography, captivating storyline, and unforgettable characters, Experiment in Terror stands as a testament to its ability to captivate audiences with suspense and expert craftsmanship.

Starting from "Taking off from shooting comedies..."

Drawing inspiration from his comedic films such as The Pink Panther and Breakfast at Tiffany's, Blake Edwards successfully showcases his talent as a noir filmmaker. By skillfully alternating between enveloping the film in impenetrable shadows and exposing it to the unforgiving Californian sunlight, he leads the audience through a journey of extremes. In one realm, ordinary people lead their everyday lives unaffected by crime or violence. In another, darkness looms, and acts of terror and violence unfold unseen. Similar to Hitchcock thrillers and the French New Wave, Experiment in Terror brings a modern touch to noir with its on-location shooting, wide cinematic photography, and extensive knowledge of film techniques.

While Psycho and Vertigo delved deep into the psychological aspects of their characters, Experiment in Terror takes a different approach by leaving its villain with few moments for analysis. He remains an enigma that defies complete understanding. Although his motive for orchestrating a bank heist is to fund a child's surgery, he is also capable of senselessly killing innocent women. Despite possessing some pure intentions buried beneath his cruel and violent tendencies, he cannot be categorized as a good man. The suspenseful climax during a Dodgers game, reminiscent of a masterfully-shot scene from Kurosawa's Stray Dog, showcases Edwards' expertise in crafting tension-filled cat-and-mouse sequences. Such moments make one wonder why Edwards never fully delved back into the noir genre.

David Lynch Draws From a Wide Pool of Inspiration

Lynch draws inspiration from a wide range of cinematic sources, particularly classic Hollywood movies. While Lynch's films are often associated with eccentricity, they also explore themes of spirituality, dream logic, eastern philosophy, and incorporate references to Hollywood and art. Lynch openly acknowledges the influence of various films and filmmakers on his work. Notably, The Wizard of Oz plays a significant role in his filmography, with its vibrant and deceptive presentation serving as a parallel to his own work. Lynch's connection to The Wizard of Oz is evident in films like Wild At Heart and The Return, where elements such as violent journeys and mystical homeward quests are prominent. Lynch's Mulholland Drive also reflects aspects of the classic film Sunset Boulevard, highlighted by the similarities in their titles. Inland Empire delves deeper into the dark underbelly of Hollywood, exploring exploitation akin to the themes addressed in Boulevard and Mulholland. This reflection on the decline of Hollywood's Golden Age continues in Lynch's two Hollywood-based films, showing the lasting impact of cynicism. Twin Peaks also shares a connection with Sunset Boulevard as Lynch's character, Gordon Cole, shares his name with an FBI agent in Billy Wilder's movie, and a scene from Boulevard plays a significant role in Twin Peaks: The Return.

Lynch's use of doppelgängers in Vertigo and the dream-focused films of Federico Fellini are clear reference points. He also shares a deep appreciation for Franz Kafka, whom he considers to be like a brother, evident in their shared fascination with presenting complex and surreal works in a matter-of-fact manner. In fact, a striking portrait of Kafka can be seen hanging in Gordon Cole's office during important moments in The Return.

Ultimately, Lynch is a filmmaker who openly acknowledges his influences, but he has the remarkable ability to transform them into something entirely unique and unparalleled. While Experiment in Terror, Vertigo, and Sunset Boulevard may be seen in Twin Peaks and Mulholland Drive, what truly matters is that Lynch has taken these invaluable inspirations and created a genuinely original body of work that continues to influence future generations.

Experiment in Terror is available to rent on Prime Video in the U.S.

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