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Wild at Heart: Die Geschichte von Sailor und Lula

Originaltitel: Wild at Heart
  • 1990
  • 16
  • 2 Std. 5 Min.
IMDb-BEWERTUNG
7,2/10
109.116
IHRE BEWERTUNG
BELIEBTHEIT
2.234
343
Nicolas Cage and Laura Dern in Wild at Heart: Die Geschichte von Sailor und Lula (1990)
Home Video Trailer from Samuel Goldwyn
trailer wiedergeben1:50
7 Videos
99+ Fotos
AutoreiseSchwarze KomödieDramaKriminalitätThriller

Das junge Liebespaar Sailor und Lula läuft vor den vielen Verrückten davon, die Lulas Mutter angeheuert hat, um Sailor zu töten.Das junge Liebespaar Sailor und Lula läuft vor den vielen Verrückten davon, die Lulas Mutter angeheuert hat, um Sailor zu töten.Das junge Liebespaar Sailor und Lula läuft vor den vielen Verrückten davon, die Lulas Mutter angeheuert hat, um Sailor zu töten.

  • Regie
    • David Lynch
  • Drehbuch
    • Barry Gifford
    • David Lynch
  • Hauptbesetzung
    • Nicolas Cage
    • Laura Dern
    • Willem Dafoe
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,2/10
    109.116
    IHRE BEWERTUNG
    BELIEBTHEIT
    2.234
    343
    • Regie
      • David Lynch
    • Drehbuch
      • Barry Gifford
      • David Lynch
    • Hauptbesetzung
      • Nicolas Cage
      • Laura Dern
      • Willem Dafoe
    • 293Benutzerrezensionen
    • 112Kritische Rezensionen
    • 52Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 1 Oscar nominiert
      • 5 Gewinne & 13 Nominierungen insgesamt

    Videos7

    Wild at Heart
    Trailer 1:50
    Wild at Heart
    Pedro Pascal Answers Our Burning Questions
    Clip 2:26
    Pedro Pascal Answers Our Burning Questions
    Pedro Pascal Answers Our Burning Questions
    Clip 2:26
    Pedro Pascal Answers Our Burning Questions
    Remembering David Lynch
    Clip 1:46
    Remembering David Lynch
    5 Forgotten Gems From 1990
    Clip 4:04
    5 Forgotten Gems From 1990
    'Wild At Heart' | Anniversary Mashup
    Clip 1:27
    'Wild At Heart' | Anniversary Mashup
    Wild at Heart
    Clip 2:46
    Wild at Heart

    Fotos159

    Poster ansehen
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    + 154
    Poster ansehen

    Topbesetzung52

    Ändern
    Nicolas Cage
    Nicolas Cage
    • Sailor
    Laura Dern
    Laura Dern
    • Lula
    Willem Dafoe
    Willem Dafoe
    • Bobby Peru
    J.E. Freeman
    J.E. Freeman
    • Santos
    Crispin Glover
    Crispin Glover
    • Dell
    Diane Ladd
    Diane Ladd
    • Marietta Fortune
    Calvin Lockhart
    Calvin Lockhart
    • Reggie
    Isabella Rossellini
    Isabella Rossellini
    • Perdita
    Harry Dean Stanton
    Harry Dean Stanton
    • Johnnie Farragut
    Grace Zabriskie
    Grace Zabriskie
    • Juana
    Sherilyn Fenn
    Sherilyn Fenn
    • Girl in Accident
    Marvin Kaplan
    Marvin Kaplan
    • Uncle Pooch
    William Morgan Sheppard
    William Morgan Sheppard
    • Mr. Reindeer
    • (as W. Morgan Sheppard)
    David Patrick Kelly
    David Patrick Kelly
    • Dropshadow
    Freddie Jones
    Freddie Jones
    • George Kovich
    John Lurie
    John Lurie
    • Sparky
    Jack Nance
    Jack Nance
    • 00 Spool
    Pruitt Taylor Vince
    Pruitt Taylor Vince
    • Buddy
    • Regie
      • David Lynch
    • Drehbuch
      • Barry Gifford
      • David Lynch
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen293

    7,2109.1K
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    Empfohlene Bewertungen

    Nick-172

    Pure Lynch

    I'm still trying to figure out what's going on inside the head of David Lynch. If there really exist such weird people or if they're just a metaphor of whats inside Lynch himself. Very similar to his latter film Blue Velvet, two young lovers' affection is spoiled by an endless parade of perverted psychos who never seem to give up. The cast is as Lynchian as it gets (Although Kyle MacLachland is missing), with Laura Dern, Diane Ladd and Sherilyn Fenn. Willem Dafoe is hideous enough as the top villian (If you can't get Dennis Hopper or Christopher Walken), and Cage and Dern also performs neat. The films contains every kind of perversion and violence you can think of so you better be prepared!
    7truemythmedia

    A Lynchian Love Story

    I feel like "Wild at Heart" is one of Lynch's forgotten films, and I can sort of see why. Though I enjoyed my time with Sailor (Nicolas Cage, "Leaving Las Vegas"), Lula (Laura Dern, "Marriage Story"), and all the other various other bizarre characters that populate this weird romantic tale, I can honestly say that this is one of my least favorite Lynch movies. It's not bad, it just doesn't do a whole lot for me, especially when compared to Lynch's masterpieces (Twin Peaks TV show, "Eraserhead", "Mulholland Drive", "Inland Empire"). When Lynch is at the peak of his directing powers, his films can prompt me to question and meditate upon the very nature of our reality; "Wild at Heart" is just a decent road trip movie with a few really quirky moments and a whole lot of wackos.

    As a side note: it blows my mind that this won the Palme d'Or in 1990. According to IMDb's trivia section on this film, Roger Ebert, who seemed to have a distaste for Lynch (check out his "Blue Velvet" review), booed so loudly that it almost drowned out the cheers when the award was announced. Though I honestly don't think this film deserves to stand beside the likes of other winners like "Parasite", "Shoplifters", "Blue is the Warmest Color", or "4 Months, 3 Weeks and 2 Days", I also can't ever imagine being so upset over a film award that I'd boo the recipient... but hey, that's just me.
    8ccthemovieman-1

    In A Word: Outrageous!

    Outrageous! This is another sick-but-fascinating David Lynch film, maybe his sickest, although I've never seen Eraserhead.

    The most interesting feature of this strange movie, I think, was the weird characters, one after the other. Make that ultra-weird.....and the strangest of them all is "Bobby Peru," played by Willem Dafoe. In all my years of movie watching, I think "Bobby Peru" still has to rank in the top five of the creepiest characters. He is so outrageously disgusting and perverted you just have to laugh out loud at him.

    In fact, "outrageous" might be the best word to describe this film, characters and all.

    This wild and entertaining film sometimes makes me shake my head in disgust that I own it, and at other times makes me just laugh out loud at the absurdity of it. You really have to have a dark sense of humor to appreciate much of it. I do, to some degree....enough to keep viewing this.

    Nicholas Cage is particularly fun to watch and provides most of the laughs. Laura Dern is also convincing as a trailer-trash-type. If you want a clue on why Dern would play such a sleazy role, check out her real-life mom in this film, Diane Ladd, who plays her mother in the movie. It looks like Mom passed on her wholesome values.

    As with some other Lynch films, the music is outstanding: just a great soundtrack. I bought the CD to this a year after first seeing the movie, and I've always enjoyed it. And, another Lynch trait that certainly is here is the excellent visual style, which is enhanced by the widescreen DVD.

    So, if you are looking for an outrageous two hours and you aren't easily shocked or offended, this would be a film to consider.
    chaos-rampant

    A certain amount of fear, as well as things to dream about

    This is how Lynch described his attraction to Gifford's book. It speaks just as well about every other film he made of course where a certain amount of fear makes the things to dream about stand out from the night as all the more urgent.

    It has enough going for it either way; a road movie given to us with a gonzo eye, crime and anguish as kitchen- sink ritual, archetypally American male and female avatars of sexual youth, a sense of wanting to just love but the world is a wicked place, and if that's not enough something else will come along in the next scene.

    It was awarded the top prize that year at Cannes. I would have to guess that the French saw some of this as archetypally tweaked America, quintessential in the fracture. It's the same audience that was going to receive Pulp Fiction with plaudits in a few years.

    And this is the whole thing. At this point Lynch could still be thought of as one among the quirky bunch that included the Coens, Stone and soon Tarantino. But can he be thought of as one of them now? No indeed and that's how much he has evolved.

    What sets Lynch apart is that others create movies as self-enclosed worlds; for Lynch it's rather one larger, open-ended world that he carries with him everywhere and now and then summons some part of it in movie form.

    The Coens for example, who are closest to him in several ways, both work with metaphysics and indulge loves for song, noir and dreams. Blue Velvet and Raizing Arizona, I can't think of one without the other, both with a dreamlike noir engine that skewers idyllic middle America. But the Coens think up a story and cleanly work out its mechanism, Lynch's work seems to come from prolonged stays in meditative habitation of that world. They are intellectuals, he's spiritual (not the same as pious).

    Except this one came from a book Lynch was given while finishing the Twin Peaks pilot and decided to do; not so much summoned from his world as he visited someone else's and came back with impressions. Now in my third viewing, it continues to be my least favorite of his post- Velvet long works that constitute the Lynch world but still one of the most endearing messes I know. It's Lynch letting out steam more than anything.

    But I'll keep with me the powerful noir engine that creates the fearful dreaming; two women, mother and daughter, who are traumatized by something they (she) allowed to happen (rape, husband's murder) and this is now spilling and surging through the film as helplessness to resist evil (most notably seen in the helplessness to avert the PI's death and the Bobby Peru scene).

    It does show Lynch as a humanist filmmaker, not a cynic, and that alone elevates it above mere carnage.
    Stu-5

    So violent, bizarre and mysterious that it actually works.

    The opening scene to Wild At Heart features Nick Cage ferociously beating an assassin to death. Heads are rammed against walls, fists are lunged into guts and what results is a brutally bashed corpse with brains pouring out of it's head. This kind of high-octane violence which is fueled by maniacal characters and deranged intervals creates a fantastic effect. One which has so much impact and so much individuality to it's merit that it turns out to be one hell of a movie.

    This is simultaneously a thrilling road movie and a revelation of small town, American country folk. The two protagonists, Sailor and Lula (Nicholas Cage and Laura Dern) are so in love with each other that they'd go to extreme lengths not to be separated. Their separation is exactly what Lula's crazed mother wants, as she believes that Sailor is a cold-blooded murderer who is putting her daughter in danger. Her anger is so fierce that the viewer becomes slightly scared by her: her manic fits of rage where she plasters herself in red lipstick; her bizarre paroxysms fueled by numerous cocktails. All of her slight idiosyncrasies and mannerisms well up to create a very intimidating mother. She sends out a hitman to dispose of Sailor and bring back her daughter, but the lovely couple are on the run from her and the law.

    Sailor and Lula meet up with some very strange characters whilst travelling far away from Lula's mother. The eccentricities of 'Tuna Town' in Texas, the insane car accident victim and Lula's nutcase cousin who believes that "the man with the black glove is coming to get him". It's all rudimentary David Lynch fare. He has mastered the art of contemporary film making: a clever blend of black-comedy, violence and fantasy.

    The viewer builds an empathy for the two main characters, as it would be a terrible thing to see their undying love for each other shattered. The other characters in the movie all seem to want to destroy that love. Sailor's character, although violent and hardbitten, seems the most normal of the lot. It takes a sane man to make sense of all the insane folk in America's underbelly. He puts up with a lot from everyone, but all he really wants to do is escape from it all with Lula.

    After all, who can love in a world that's wild at heart?

    Nine out of ten.

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    Handlung

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    • Wissenswertes
      Sherilyn Fenn's accident scene came from David Lynch's impression of Fenn as a porcelain doll, and from the idea of seeing a porcelain doll breaking. He kept telling her about that, and that's how the scene was born. Lynch said of the scene, "I just pictured her being able to do this. She's like a broken china doll." Lynch got the same inspiration for the car accident scene in Mulholland Drive (2001). His direction to actress Laura Harring was to act like a broken porcelain doll. Incidentally, the idea for Mulholland Drive came from a desire to spin-off of Lynch's television series Das Geheimnis von Twin Peaks (1990), with Fenn as her Peaks character, Audrey Horne.
    • Patzer
      During the scene when Sailor's is running through a traffic jam to find Lula, a crew member and boom mic is visible in the reflection of one of the windows of a black van.
    • Zitate

      Lula: This whole world's wild at heart and weird on top.

    • Crazy Credits
      The ending credits play over footage of Sailor singing "Love Me Tender" to Lula, rather than a black screen.
    • Alternative Versionen
      To avoid an X-rating in the USA, David Lynch added a smoky haze and spark impact to the shots where Bobby Peru (Willem Dafoe) shoots himself with a shotgun and blows his head off. The second shot has the same smoky haze on it to hide the chunk of his head flying though the air. The effect made the removal of his head from his body less clear and muted the blood and gore and got the movie an "R" rating. The uncut version was released outside the USA, but since the David Lynch-approved DVD came out in the U.S. (the shot was altered there), the censored transfer has been used on worldwide DVD releases as well, while most of the versions with the bloodier version of the scene have gone out of print. Oddly enough, the more graphic version is still shown in TV airings in the U.S. on the Sundance Channel.
    • Verbindungen
      Featured in Siskel & Ebert & the Movies: Darkman/Wild at Heart/Pump Up the Volume/My Blue Heaven/The Witches (1990)
    • Soundtracks
      Slaughter House
      Written by Joel DuBay, Jeffrey Litke & Adrian Liberty

      Performed by Powermad

      Published by Cosmic Lug Publishing (ASCAP)

      Courtesy of Reprise Records

      by Arrangement with Warner Special Products

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    FAQ21

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    Details

    Ändern
    • Erscheinungsdatum
      • 20. September 1990 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprachen
      • Englisch
      • Spanisch
    • Auch bekannt als
      • Salvaje de corazón
    • Drehorte
      • El Paso, Texas, USA(Big Tuna, Texas town setting)
    • Produktionsfirmen
      • Polygram Filmed Entertainment
      • Propaganda Films
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Budget
      • 9.500.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 14.560.247 $
    • Eröffnungswochenende in den USA und in Kanada
      • 2.913.764 $
      • 19. Aug. 1990
    • Weltweiter Bruttoertrag
      • 14.587.084 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      • 2 Std. 5 Min.(125 min)
    • Farbe
      • Color
    • Seitenverhältnis
      • 2.35 : 1

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