ReView: You Can’t Use An ‘Eraserhead’ On Real Mistakes

Following the death of Oscar-winning filmmaker David Lynch Jan. 15, looking back at his 1977 feature film debut “Eraserhead” offers a glimpse into the foundation of his distinctive craft.

Conceived as a student project while enrolled at the American Film Institute, “Eraserhead” evolved into a self-financed and produced surrealist horror film, helmed by a seven-man crew over five years, according to the American Film Institute.

The outlandish plot, bizarre imagery and macabre themes within “Eraserhead” aren’t faults — they’re exactly what made Lynch such a compelling director.

“Eraserhead” follows Henry Spencer, a man trapped in a loveless marriage and plagued by self-doubt and anxiety. When Henry’s former fling Mary reveals she’s pregnant, he’s burdened with the care of their monstrous child — an otherworldly creature swathed in bandages always crying from its misshapen head.

Although “Eraserhead” is considered a horror film, it subverts genre conventions by creating a world of psychological unease, where the true horror lies within Henry, not the viewer.

His turmoil over parenthood, coupled with his longing for the Beautiful Girl Across the Hall, haunts him through sleepless nights. He begins to envision a woman who lives in his radiator who quells his anxieties.

Lynch’s attitude toward the film’s meaning is equally mystifying. In an interview with David Lean, Lynch called “Eraserhead” his most spiritual work, but didn’t elaborate any further.

The common interpretation sees “Eraserhead” as an exploration of unplanned parenthood, presenting the theme as a bleak and exhausting ordeal. Severed from their former lives and isolated in a relentless cycle of anxiety and responsibility, the mounting stress tears at the parents’ psyches.

Like the film’s other elements, the child’s lizard-like design distances viewers from its humanity. However, its disfigured body acts as a representation of Mary and Henry’s detachment from parenthood.

“Eraserhead” uses fragmented narrative structures, confusing audiences and causing scenes and characters to feel disjointed.

Though Lynch’s other films like 1997’s “Lost Highway” and 2001’s “Mulholland Drive” are deliberately confusing and non-linear, “Eraserhead” pushes this abstraction. Lynch uses dreamlike sequences to distort the story without offering clear distinctions or resolutions.

Characters like The Man of the Planet inexplicably appear during pivotal scenes with undefined purposes, furthering the movie’s enigmatic atmosphere. The Beautiful Girl Across the Hall’s fleeting presence and ambiguous relationship with Henry blur the line between reality and desire — leaving her very existence in question.

The unsettling spirit of “Eraserhead” is shaped by various elements beyond its perplexing structure.

Brutalist architecture dominates the decaying wasteland, while the black-and-white visuals and droning static evoke the emptiness of space and highlight themes of isolation — creating a desolate environment akin to purgatory.

With dialogue as soulless as its world, “Eraserhead” relies on actions to further the story. Brief, stilted conversations result in awkward exchanges between characters with little significance to the overall story, reinforcing the film’s sterile atmosphere.

Despite early reception deeming the movie unwatchable, “Eraserhead” endures as a haunting exploration of fear and isolation. Its ambiguity invites endless discussion decades after its release, solidifying its place as a cornerstone of Lynch’s surrealist legacy.

“Eraserhead” is available to stream on Max.