![Book called wild at heart](https://cdn1.cdnme.se/5447227/9-3/20_64e61dfc9606ee7f8b257166.png)
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The forces of good and evil that Lynch had limited to a small town four years earlier with Blue Velvet are blown out into the larger expanse of the American road. That uneasiness is the lifeblood of Wild at Heart, which sets a love of the purest and most passionate kind against a sun-scorched landscape of ceaseless hostility. The appeal of road movies is that they allow for a certain amount of narrative spontaneity, with every exit teasing the possibility of a new and unexpected subplot. The sequence is Wild at Heart in microcosm, with the AM stations representing treacherous pitstops on the lost highways between a deep south correctional facility and sunny California, where Sailor and Lula hope to carve out some place for themselves. Romance pokes through the violence and discord like a bloom through cracks in the pavement. And then suddenly, the adrenalized thump of Powermad’s Slaughterhouse fades out and the lush strings of Richard Strauss overwhelm the soundtrack.
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As the two thrash along in the embankment – Sailor, with his karate-kick dancing style, seems like a terror in nightclubs – Lynch’s camera cranes upwards to a magic-hour sunset across the field.
![book called wild at heart book called wild at heart](https://i.ytimg.com/vi/D2TgnfyUtOk/maxresdefault.jpg)
“Sailor Ripley, you get me some music on that radio this instant!” she screams, and he obliges, scanning past more talk-radio mayhem before landing, improbably, on a track by the Minneapolis speed metal band Powermad.
![Book called wild at heart](https://cdn1.cdnme.se/5447227/9-3/20_64e61dfc9606ee7f8b257166.png)