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To watch Blue Velvet for the first time 31 years after its original release is a treat of unexpected proportions. I'm not going to tell about the story because, I'm sure, each one of us could tell it in very different ways. The blandness of Kyle MacLachland here is a major plus. It's not him that rivet us but his circumstances. And the circumstances are truly riveting, terrifying, unpredictable and gloriously cinematic. Dennis Hopper is superb, disgustingly so and Isabella Rossellini creates a character that was totally new to me. Related to many others but new, disturbingly so. Dean Stockwell has a moment that I know already will stay in my mind for ever. I'm so glad I finally saw it.

What surprised me was how very different this was from the two other great David Lynch films I'd seen: "Lost Highway" and "The Straight Story", which are in turn very different from one another. I'd been told by a disappointed David Lynch fan, back in 1997, that the only reason I was so deeply impressed with "Lost Highway" was that I hadn't seen "Bue Velvet", in which he does much the same kind of thing better. "Blue Velvet" may indeed be better (I wouldn't want to say), but in no respect is it the same kind of thing. (The only instance I've encountered so far of Lynch making the same film twice is "Lost Highway" being remade as "Mulholland Drive", which partly accounts for the latter film being so stale and uninvolving.)

"Blue Velvet" is a simple amateur sleuthing story, but the genius is in the telling of it. It's hard to avoid the feeling that something supernatural is somehow involved, although it isn't, and we know that it isn't. It looks and feels as though we're watching the world through a special enchanted (or cursed) prism: the image has been pulled apart, ALMOST into two distinct images, with the elements of pure evil and pure wholesomeness now distinct from one another, sitting just millimetres apart.

Unrelated to this, but still contributing to the intense suspense and the overall creepiness, is Lynch's ability to make us familiar with a few ordinary locations, which grow more sinister - or at least more meaningful - every time we see them, until the sight of a simple concrete stairwell in the dark is enough to make us start to panic.

The sexual revolution in film came some ten years after the label's coinage in the late Sixties. It probably began with Last Tango in Paris. Directed by the acclaimed Bernardo Bertolucci, Last Tango is notorious for a sex scene involving Marlon and roughly a third of a stick of butter. Theretofore sex in film could potentially be used as a means of revealing the lightest or the darkest character's traits: primarily, vulnerability, instinct, sadism and impulse. Blue Velvet is a good example of a movie using such a dynamic. Blue Velvet is not a film that is easily appreciated. Likewise, it is not a film that is easily forgotten. It is a timeless controversy, and it is a vision demanding attention if not praise.

Set in a small American town, Blue Velvet is a dark, sensuous mystery involving the intertwining lives of four very different individuals. The film's painful realism reminds us that we are not immune to the disturbing events which transpire in Blue Velvet's sleepy community. There is a darker side of life waiting for us all. And as a critic said 'you either think it's dementedly wild at heart or a lost highway to nowhere'. Even some eighteen years after the release of Blue Velvet its vision remains wildly adamant relative to the stride of other works of contemporary noir. There have been many films about suburban crime, but none as dangerously imposing as this. Why is that so?

If Blue Velvet might not be labeled as a masterpiece one has to acknowledge that there are in this movie a lot of so called 'masterpiece element' and if Blue Velvet will never be considered as Mr. Lynch best feature, I personally can see a lot of David Lynch's genius flowing in that movie.

First of all, the way David Lynch makes Blue Velvet increasingly disturbing is a perfect example of how pristine the dynamics of weirdness and tension are built (remember Eraserhead and Elephant Man). Through this process Mr. Lynch indeed deconstructs the audience expectations. The film setting and mood are introduced in an exposition lifted directly from older films (there are numerous references to It's A Wonderful Life). In result the film is initially expected to follow a particular path. The way Mr. Lynch associate elements of classic narrative methodology and 'his dynamics of noir' (previously explained) appears to be original at worst 'avant gardiste' at best.

Second of all, the opposition between the creepiness of the plot and the setting of it is definitely for me a masterpiece element. The film is set in Lumberton. This does not represent a quaint, small town by similarity; it is one. Lumberton is filled with characters that are completely typical. I can almost see the cops eating doughnuts in the coffee shop and the local football star dating the head cheerleader. This typicality is definitely not out of coincidence but of intention. In fact these characters function to punctuate the story, not to distinguish it. The 'infamous' individuality of Lynch's vision is established in the darker side of Lumberton. Our perspective throughout the film is fixed on Jeffery, and is deliberately biased by his good nature. Jeffery is portrayed with great subtlety by Kyle MacLachlan (FBI agent from "Twin Peaks"). He is paired with Sandy (Laura Dern), the daughter of a neighborhood investigator who epitomizes to perfection the 'girl-next-door'; in Blue Velvet it is her literal function. Completing this diverse list of roles is a haunting and brief performance by Dean Stockwell as well as Dennis Hopper who creates a flabbergasting portrait of unrepentant and irredeemable evil. The confrontation or those characters or the collision among themselves makes for a mesmerizing experience.

Once again Mr. Lynch succeeds in the masterful exercise of controlling the audience's attention. Most of us will not quite know what to make of it and we can disagree on the value of such a cinematic experience. However audacious, erotic, disturbing, haunting are adjectives that will always be linked with Blue Velvet. The 'Thriller' has just been re-invented by Mr. Lynch right in front of our eyes.

This has always been a unique crime movie, like no story I have seen before or since. In numerous ways, it's a sick film...but utterly fascinating, even after a handful of viewings. It's a certainly a trademark of director David Lynch with its bizarre story and twists and strange characters.

This movie has one of the most evil characters ever put on screen: "Frank Booth," played by Dennis Hopper. The latter is known for playing psychotic killers and this role tops them all. Hopper was never sicker. Almost as bizarre as him is the female victim in here, "Dorothy Vallens," played a mysterious Isabella Rossellini.

Kyle MacLaclan is good as the nosy late-teen who just has to find out what is going on in Dorothy's apartment while girlfriend Laura Dern gets caught up in his curiosity.

In a movie that features strange characters, the strangest scene of them - and there are a number - is in Booth's apartment with Dean Stockwell and his friends. Stockwell's lip-synching to an old Roy Orbison song is really freaky. Make no mistake, though: as bizarre as this film can get, it's mostly a very suspenseful crime story that can get very uncomfortable to watch at times. The language in this film was surprisingly tame.....until Hopper enters the scene. He's about the only character who uses profanity but he makes up for the others by using the f-word in about every sentence. He is so over-the-top, though, that after the initial shock seeing this movie once or twice, I know almost laugh out loud at him and way he acts.

Visually and audibly, this is another interesting Lynch movie with superb colors, creepy camera angles and a diverse soundtrack. You hear everything from lush classical music to old rock 'n roll songs, and a bunch of bizarre noises (sound effects).

From discussions I've had, this seems to be a film people love or hate. There is not much room for middle ground. Lynch has done much "nicer" films such as "The Straight Story," crazier films ("Wild At Heart," "Eraserhead") and classier movies ("The Elephant Man") but this will be his trademark film: the one above others he will be remembered for, good or bad.

Jeffrey Beaumont returns to his small town home when his father has an accident and ends up in hospital. A quiet walk home changes his perceptions forever when he discovers a human ear in the long grass. He reports it to the police but decides to make some enquires himself with the help of the officer's daughter Sandy. The trail begins with the mysterious Dorothy Vallens and drags Jeffrey into the unseen underworld of Frank Booth.

For the majority of people, you either like Lynch or you dislike him. Personally I like the majority of his work, I love the sense of normalcy that he can create and slowly change to reveal a darkness that is worryingly close to the surface. That is the case here, beginning with a blue sky, white picket fence vision of small town America the camera drops into the grass to see a torrent of bugs scrambling just under the surface. In the same way the film follows Jeffrey's journey into the underbelly of his home town.

In some ways this is one of the easiest Lynch films to get into – here the darkness is not a wide world of demons as in Fire Walk With Me, but is one man and his associates who can be overcome. The darkness is therefore accessible to all but is laced with just enough weirdness to disturb – my favourite scene is where Frank takes Jeffrey to see Ben, it is just a little unsettling. In hand with this is the fact that it is easily one of his most optimistic films, the good angel in Jeffrey's life is a strong character and the ending is one of certainty rather than open to interpretation – that robin has about a clear a meaning as it can.

MacLachlan is well used as Jeffrey. He is wide eyed and innocent even when being sucked into the underworld. Dern plays `all-American' well but doesn't have the complexity of MacLachlan in the script. Rossellini has a challenging role and carries it off quite well – I didn't fully understand her character but I don't know if that was my fault or hers. Of course the film belongs to Hopper who is terrifyingly unstable. Without a doubt he is a monster and you never are left in any doubt as to his state of mind. For an example of his work here watch the scene where Stockwell (in a wonderfully weird cameo) sings and Hopper clearly falls to pieces.

Although I prefer Fire Walk With Me, I do think that this is Lynch's best film. It is weird without going totally overboard and it allows us to sink into the underworld gradually without sudden falls. Hopper controls every scene he is in, but the meeting of wholesome and weird is perfectly delivered and is trademark Lynch.