From his very first film in 1977 with the cult classic Eraserhead, David Lynch continued to make an impact throughout his career.

The biggest surprise that came from it was the simple fact that he only ever made ten films. That’s not to say he didn’t make that many, as he made over 65 short films to continue his passion for filmmaking.

His fourth film, his follow-up to 1984’s Dune, which he wrote himself, was 1986’s Blue Velvet starring Kyle MacLachlan, which is being re-released to celebrate its 40th anniversary.

Returning to his home town of Lumberton is college student Jeffrey (MacLachlan). He’s back due to his ailing father, and intends to help out in his hardware store.

One day, while cutting across a vacant lot in the neighbourhood, Jeffrey discovers a human ear in the grass. He picks it up and takes it to the police, where he shows it to detective John Williams (George Dickerson), who tells him to leave it to the police.

Jeffrey is beguiled by the ear, and wants to get to the story behind it. It just so happens he used to go to school with John’s daughter Sandy (Laura Dern), and when their paths cross, she tells him she knows more about it.

She heard from her dad that a woman, Dorothy Vallens (Isabella Rossellini), is suspected to be involved somehow, and she knows where she lives. Jeffrey asks her to take her to Dorothy’s apartment building, which are Jeffrey’s first steps in the foreboding underbelly of his home town.

Forty years on and Lynch’s Blue Velvet is still darkly disturbing. It’s a neo noir, echoing the traits of film noir, as Jeffrey takes on the investigative role, which leads him to the door of troubled femme fatale Dorothy.

Lynch is keen to establish Lumberton as the epitome of Americana, replete with white picket fences. He then gets into the dirt, literally, as he reveals the going-ons of unsavoury characters, lead by the unpleasant Frank Booth, played with relish by Dennis Hopper.

There’s a vagueness to the narrative, with this darker side, and those who inhabit it, having a sketchy aura, with no support as to their bad behaviour; they just exist there, without explanation, which makes them more curious – and dangerous.

It was MacLachlan’s second film, after making his debut in Lynch’s Dune, and continued his role as Lynch’s muse, appearing in further projects, including the cult TV series Twin Peaks.

It was Rossellini’s fifth film, so early on in her career, and remains one of her bravest and most memorable. Dorothy is a victim in this scenario, where she finds herself having to do despicable things due to Frank’s power over her, as he has her husband and child. She is emotionally tortured, leaving her in a state of constant turmoil, which loosely covers her severe vulnerability.

Hopper had made a career of playing the bad boy in various guises, and responds brilliantly to Lynch’s direction, creating a memorable monster.

There’s an undeniable ambiguity to the film, on all fronts, but instead of being isolating, through Lynch’s lens, it only draws audiences in more, deeper.

The finale to Lynch’s career was a disappointing one, with 2006’s Inland Empire, that was barely watchable, despite the director’s obvious intent to stretch himself further creatively.

Thankfully the rest of his canon makes for an impressive legacy, with his death in early 2025 at the age of 75, with Blue Velvet the perfect showcase to his beguiling talent.