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Sacha Weakland
For Eraserhead, I initially tried my usual method of analyzing a film, i.e. watch it several times, take notes along the way, and use those notes to come up with an evidence-based interpretation. No problem, right? Wrong.
In his apartment Henry plays music and dries his wet sock on a radiator. There are many bizarre features to his apartment, including a twig-like substance around the base of his radiator and a mound of twig-like substance on his dresser. There is also a leafless tree branch in a small mound of dirt by his bed. There is a window of bricks above his radiator. He stares at the brick window for long time. He then goes to his dresser, takes out ripped pieces of a picture of Mary, puts them together and examines the picture closely.
Henry hides the box in his jacket pocket and returns to his room. He lies on the bed and stares at the radiator. A light turns on in the radiator and we see a small stage in the radiator. Mary continues trying to feed the baby. She asks if there is any mail and he says no.
Henry set up a respirator for the baby and sits by it. Henry looks at the seed in the floral cabinet and puts on his coat to leave, but every time he tries to the baby starts crying more, forcing Henry to stay in his room.
In the night Mary mysteriously appears back in his bed. She thrashes around in a strange, wet-sounding manner. Henry finds spermatozoon creatures under the covers, coming from Mary. He throws them against the wall and smashes them.
The floral cabinet opens and the seed dances away onto the dark planet. One end of the seed opens up, revealing an eery, dreamlike image of Henry in his room at night. The Beautiful Girl Across the Hall knocks on the door and asks if she can spend the night. The Baby cries but Henry puts his hand on its mouth. The Beautiful Girl Across the Hall moves in to kiss Henry.
In this interpretation Henry ultimately kills his child, as strange and deformed as it is. If we follow the logic of this interpretation, Eraserhead is a straight up horror film. An evil man kills his child and is rewarded with Heaven. The Lady in the Radiator would have to be a sort of demon. In this reading Eraserhead could be considered perhaps the darkest film of all time. It would be the ultimate celebration of infanticide.
If we are dealing with the architecture of the mind in Eraserhead, it opens up the possibility of a deeper story than the surface one described above. It means there could be two levels of meaning in the film:
If you look closely at the film, you will see how many times we are shown shots of that window. (In fact, you can count how many times in my script translation below.) Over and over and over we are shown this window, usually in dark shadows and with an ominous wind. There is often a slight hint of a scream in the sound of the wind in these shots. It is shown again and again and again. It must important. Yet no one, to my knowledge, has asked why we see so many shots of this window or questioned what might be behind those paper bricks.
The next shot is of Henry looking out his window. Remember, previously there were paper bricks that blocked that window. Now, magically, the bricks seem to have disappeared and Henry stares out his window at the attack below.
How exactly has fear entered their home? Once again, Lynch makes the abstract literal: Fear has been pumped in through the large pipes in their home. Pipes which are connected to the puddle, the source of fear. Bill, the family patriarch, installed these pipes himself.
The impossibly brought to term, reptilian, deformed, repulsive, crying, needy, watching, controlling, mocking Baby, with outer bandages hiding hideous internal organs, clearly represents something. David Lynch is a master code builder. We are not meant to take such an important and bizarre object at face value. And just as creamed corn represents pain and sorrow in Twin Peaks: Fire Walk With Me, I believe the Baby represents fear in Eraserhead.
Sex has led to the Baby. The Baby drove Mary away. The Baby prevents Henry from acting freely. The Baby stops Henry from having sex with his neighbor. Henry is afraid that the Baby will erase him. Therefore Henry kills (erases) the Baby and goes to a Heaven of sorts.
Sex has led to fear. Fear drove Mary away. Fear prevents Henry from acting freely. Fear stops Henry from having sex with his neighbor. Henry is afraid that the fear will erase him. Therefore Henry erases fear and goes to a Heaven of sorts.
In Eraserhead David Lynch uses the most complicated and disturbing of means to convey a message that is ultimately simple and peaceful. He creates a dark and negative world as a means to a light and positive one. These ironies and contradictions are one of the many ways in which Eraserhead is a movie awash in beautiful contrasts. Like the black and white film stock used to create the film, Eraserhead is a gorgeous battle of opposites, and this struggle is ingrained in the very fabric of the film.
Many objects in the film lead to contrasts. Fear led Henry to commit violence, but also led to the bliss of the radiator. The dresser hides Mary, his object of love, but also hides the scissors, an instrument of death. The symbol of bliss is hidden in the radiator. Yet the radiator is right next to the window, which hides the symbol of fear.
David Lynch has offered up yet another mystery regarding the interpretation of Eraserhead. In Catching the Big Fish, Lynch states that Eraserhead is his most spiritual film and no one understands why:
Therefore, the quote above from II Timothy is my best guess at a Biblical quote which could encapsulate Eraserhead. When dealing with a film as challenging as Eraserhead, and an artist as intuitively brilliant as David Lynch, a best guess is all a cinematic detective can hope for.
The beginning of the movie supports this, in that we see the trapped man (guilty conscience) jumping into action suddenly at seeing something through the window. This sequence is Henry remembering the act (perhaps due to stepping in the pool), and the Man in the Planet seizing his chance of escape. The birth of the baby is to prevent Henry from forgetting and sinking back into blissful ignorance. The baby distracts him from all the things that Henry uses (sex being a big factor) to repress the memory of what he witnessed through the window.
Thus the Dancing Potato Lady is not blissful victory over fear. No, it is the complete opposite. She is the blissful ignorance, trying to constantly help Henry forget and ignore. The scene of Henry watching the Dancing Lady disappearing, and then being replaced briefly by the Man in the Planet is again a metaphor for his guilty conscience (the man) trying to distract him from blissful ignorance (the lady).
She tries to keep him from his guilt, and eventually succeeds at the end of the film where Henry stabs and kills his imprisoned conscience. It tries to grow strong, in order to get Henry to own up to his fears and guilt. The movie actually ends in tragedy, as Henry gives in to ignorance and kills his own conscience. The white stuff that envelops the baby as it tries to escape is bliss overpowering the ugly, truthful guilt.
Mary might also be trying to help him come to terms with his past. She suffers because he represses his childhood horrors, which begin to eat up at her as well (as seen in the bed scene where he pulls spermatozoons from her). Very prominent is the scene where she gets fed up and leaves; she feels trapped in a relationship with a man who shares his body with her, but not his mind and past. A scene that is very subtly portrayed when she sits at the end of the bed, trying to wrest free her suitcase. She sits behind the bars of the bed, rocking violently back and forth in a sexual manner, while the bars make it look like she is trapped in a prison cell being raped.
In short, the film is about a man trying to escape his own guilt and fears by giving in to ignorance and bliss. So in a way it can be seen as positive or negative. He conquers his fears and guilt, and can perhaps feel free, which may be good since there was probably nothing he could have done back in the alley anyway. But on the flipside, he gives in to cowardice instead of confronting it and owning up, thus he remains a coward.
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