Using Freudian Interpretations in the Film Blue Velvet

The probing psychological detective drama Blue Velvet, directed by David Lynch, is a surrealistic portrayal of a convoluted blend of perverse and erotic elements of desire; desire that is inflicted with the pain and satisfaction of extreme sadomasochism.   The eroticism as it exists in the conscious and unconscious minds of the protagonists makes itself readily interpretable to the viewer/amateur analyst.  One may easily recognize Freudian elements of psycho-analysis within this film, such as the existence of infantile sexuality and the varying degree of perversions, made evident in virtually all the behavior of the psychotic prototype, Frank.  However, one also needs to be wary in interpreting these notions that are essentially served up to the viewer/analyst on a silver platter.  

By falling into the trap of simply applying Freudian theory to different aspects of the movie and interpreting them, the viewer loses sight of the greater Lynchian project at hand.  This film also engages aspects of character role reversal, where the analyst or viewer takes on some of the symptoms of the analysand; which may inevitably employ the viewer of the film itself to be involved in a kind of perverse behavior.  However, before making this assumption one must analyze the Zizekian reading of the hard-boiled and classical detective and the Freudian concept of transference. Incorporating these psychoanalytic observations into a reading of the film implies that interpretation and investigation easily becomes  perverse only when the analyst/detective is emotionally invested in the investigation itself.  This provokes one to probe into the psyche of the clinical psychoanalyst; is the psychoanalyst’s quest to observe and interpret the symptomatic perversions of others a manifestation of their own voyeuristic perversions or does the exchange of money simply negate this perversity?