Author: Allison Brennan, UQTR

Fall 2012

In this essay on David Lynch’s movie Blue Velvet, Allison Brennan (4th-year undergraduate student in the Modern Languages and Translation Department, UQTR) reflects on the figuration of Sadism that we find in the character of Frank Booth, interpreted by the late Dennis Hopper.

Frank Booth’s Blue Velvet

In Blue Velvet, Frank Booth is a menacing, dangerous sadist who appears in control of his environment, his “posse”, as well as a chanteuse named Dorothy Valens. However, appearances can be deceiving. As the opening scene reveals when Mr. Beaumont suffers a stroke on his lawn, there is always something hiding below the surface. The movie, which deals with various forms of polarity, shows us that Frank Booth’s exterior psychoneurotic personality is actually masking his own feelings of inadequacy and vulnerability, especially toward the female sex. This is the representation of polarity I will focus on in this paper: the polarity within Frank Booth. Frank uses violence, both physical and verbal, to dominate and denigrate others because he feels inferior or threatened by them.

Before Frank even appears on screen, the audience can feel the tension rise within Dorothy as she speaks to him on the phone. When Frank arrives at Dorothy’s apartment, he starts berating her as she rushes around to serve him his drink while creating the “ambiance” he desires.

Dorothy Vallens: Hello, baby.

Frank Booth: Shut up! It’s Daddy, you shithead! Where’s my bourbon? Can’t you fucking remember anything?

This “ambiance” includes lowered lights, a lit candle and a chair placed in front of the sofa. Dorothy sits on the chair and spread her legs. As Frank moves forward, he takes out his oxygen mask and breathes into it. Research revealed that the mask was connected to a device that emits amyl nitrite, which is often used to induce a euphoric state of mind. When combined with other drugs, amyl nitrite can be used to counter the depressive / anxious state that follows the “high” from ingesting hard drugs such as cocaine. Frank pulls out his mask as he moves towards Dorothy’s exposed genitals, suggesting a degree of anxiety felt toward femininity. Frank gazes and the expression on his face can be read as one of wonder. Frank insists on Dorothy calling him “Daddy” as a measure of feeling superior to her however, when he refers to himself as “baby” later on, one can presume that it is actually Frank who feels inferior and vulnerable. He repeatedly calls out to his mother: “Mommy, Mommy, Mommy. Mommy…baby wants to fuck…”. (Blue Velvet, 1986)

This is a clear example of the Oedipus complex. The child exhibits sexual desire toward the parent of the opposite sex and jealousy toward the same-sex parent. Usually, as children mature, the Oedipus complex slowly dissipates as they are taught that it is “shameful” to crave sexual relations with their parents. Eventually, youngsters find a replacement; referred to as “wish-fulfillment” by Sigmund Freud. But Frank has not transcended this stage. Even in adulthood, he still desires his mother. One could presume that, perhaps in early childhood, Frank experienced a form of dissatisfaction where his mother did not meet his childhood needs on some level. As a result, Frank seeks substitution in others: “I’ll fuck anything that moves”, but the “wish-fulfillment” never seems to be attained. The violence that lives within Frank Booth could suggest that his mother may have been violent with him: physically or psychologically. His frustration toward his mother and femaleness are quite evident.

Frank throws Dorothy on the ground and pummels his fist in her genitals repeatedly while instructing her: “Don’t you fucking look at me”. He hits Dorothy when she does look at him. This portion of the scene, the pummelling of the female sexual organ, suggests anger and excessive frustration felt toward the very essence of femaleness. At the same time, Frank feels shame: he does not want to be seen by Dorothy. Does this shame stem from wanting a sexual rapport with this mother or never achieving satisfaction with his mother? As Frank mounts Dorothy, he says “Daddy’s coming. Daddy’s coming home”. One could question whether Frank is referring to himself, since he insists that Dorothy call him “Daddy”, or to his own father, or to Dorothy’s husband. According to Sigmund Freud, the child going through the Oedipus complex desires the parent of the opposite sex, while hating the parent of the same sex. “It may be that we were all destined to direct our first sexual impulses toward our mothers, and our first impulses of hatred and violence toward our fathers (…)”. (Freud, 1997) The entire scene leaves the audience with the feeling that Frank is also trying to reinact a specific circumstance or scene from a dark corner of his own mind, which can bring one to believe that the man is suffering from psychoneurosis.

“Central to psychoanalytic theory, which was founded by Austrian neurologist Sigmund Freud, is the postulated existence of an unconscious part of the mind which, among other functions, acts as a repository for repressed thoughts, feelings, and memories that are disturbing or otherwise unacceptable to the conscious mind. These repressed mental contents are typically sexual or aggressive urges or painful memories of an emotional loss or an unsatisfied longing dating from childhood.” (Britannica Online)

Furthermore, Ukrainian-American psychiatrist Dr. Boris Sidis defined psychoneurosis as a “disease of the subconscious” that stems from early childhood: “A long series of shocks in childhood must first have shattered the individuality of the patient before the given particular shock can produce the psychopathic upheaval”, thus also supporting my belief that Frank Booth experienced some type of childhood trauma, most likely involving his mother (perhaps through rejection and/or violence), which causes Frank to suffer from psychoneurosis. Interestingly, “frank psychosis” is also a term used for schizophrenia. This also gives us insight into Frank Booth and his obsessions. It may explain his many outbursts during which he seems to be addressing someone who is not present.

The disturbing scene during which we meet Frank Booth can also be compared to that of childbirth. Expulsing another human from one’s body is painful, bloody and also quite violent. Much like Dorothy in this scene, the mother is exposed, in pain, and has little control over what is happening. However, the actual punching of and pushing into Dorothy’s genitals can also represent Frank pushing and repressing the child within. This can reiterate the supposition that Frank dreams of being inside his mother’s body. By repressing the child, Frank may seek to repress the child’s “shameful” and socially unacceptable desires.

Before he leaves, Frank refers to Dorothy’s husband by saying: “Stay alive, baby. Do it for Van Gogh”. This is a threat. Frank is reminding Dorothy of the harm that will come to her husband if she does anything foolish. The reference originates from the fact that Frank cut off Dorothy’s husband’s ear as a warning to Dorothy and Van Gogh either sliced his own ear off or a friend cut it off during an altercation (depending on the source). However, the cruelty of these words re-affirm Frank’s sadistic and cruel personality. He shows absolutely no remorse nor concern for his victims. Frank has no regret about tearing Dorothy’s family apart by kidnapping her husband and her son in order to dominate her so completely. Frank also controls his goons and frequently yells at them and orders them around. Frank even controls a police detective, one could deduce, by using threats of exposure or violence. Although we know very little about Frank, we do know that violence is his world: whether the violence is applied physically, verbally, or emotionally. According to Merriam-Webster’s online dictionary sadism, most often associated with sexual perversion, is also expressed by the “delight in cruelty”. It is a well-acknowledged fact that sadists love to inflict pain on others. Frank Booth revels in his cruelty. It makes him feel powerful, masculine, and alive.

“The Diagnostic and Statistical Manual of Mental Disorders, also known as the DSM, is used by mental health professionals to give diagnoses of specific mental disorders. In the 2000 edition of this manual— the Fourth Edition, Text Revision, also known as DSM-IV-TR — sexual sadism is listed as one of several paraphilias. The paraphilias are a group of mental disorders characterized by obsession with unusual sexual practices or with sexual activity involving nonconsenting or inappropriate partners (such as children or animals). The paraphilias may include recurrent sexually arousing urges or fantasies as well as actual behaviors.” (Encyclopedia of Mental Disorders)

Dorothy Vallens, a married woman and mother of a young son, certainly qualifies as an inappropriate and non-consentual partner. In order to entrap her, Frank had to kidnap her family.

Throughout the movie, the audience witnesses Frank’s many obsessions, which are an integral part of Frank’s psychoneurotic state. Many psychologists agree that individuals suffering from psychoneurosis often have many different obsessions. This applies to Frank, who is obsessed with Dorothy, with Blue Velvet (the song and the fabric), and seemingly, the word “fuck” and fucking itself. In the movie, Blue Velvet is prominent and comes in various forms: the blue eye shadow and the velvet blue robe worn by Dorothy Vallens, as well as the song performed by Bobby Vinton and by Dorothy at the Slow Club. However, research has allowed me to discover that Blue Velvet is also another name for morphine, a drug used to numb severe pain. This leads to very different interpretations of Frank’s obsession. Frank is a drug dealer and pusher. Blue Velvet could very likely be his drug of choice. Perhaps Frank is trying to dull the pain felt during his childhood, an intense pain that is still very acute within him. This pain is very real to Frank. It is as potent as the drug. Frank’s profound obsession with Blue Velvet leads him to want to see it, hear it, smell it, touch it and taste it. As “baby wants blue velvet”, Frank wants his morphine. However, velvet can also represent the female pubis, or velvet patch.

“In the late 1800s, velvet and fur became popular objects of desire among sexual fetishists – who were almost always male, by the by- and many a frenzied furrier reached orgasmic heights simply by caressing the soft silken materials (velvet underwear was a favoured item). Eminent psychoanalyst Sigmund Freud (who else?) hypothesized that velvet and fur unconsciously symbolized female pubic hair (what else?). Of course, female pubic hair-the real thing-also has a rich history as a fancied item of carnal lust among the fetish crowd. Men have long collected wisps of furry down from sexual conquests, treasures they often use to relive-or create anew-moments of sexual ecstasy.” (Hamilton, 2002, page 173)

In lieu of his mother’s pubic hair, Frank carries a swatch of blue velvet with him. He puts it in his mouth while assaulting Dorothy in order to attain sexual ecstasy. His caressing of the fabric while Dorothy sings the song “Blue Velvet” suggests he is, in fact, caressing his mother’s pubis. Men have been known to develop obsessions with the female pubis. In her book Skin Flutes & Velvet Gloves, Dr. Terri Hamilton talks about a legend surrounding King Charles II who allegedly had a wig made from his mistresses’ pubic hair. Men in his “club” would wear the wig as an initiation process and for pleasure. This wig was eventually stolen by rivals and kept as a “prize”.

Frank’s constant use of the word “fuck” (and its derivatives) are not only another obsession of his, but can also be interpreted as a cover-up for his feelings of inadequacy. His use of other blasphemous words such as “pussy”, and the fact that he calls Dorothy “tits” are also meant to demean her and thus promote his superiority, while masking his true feelings of inferiority. These words are all demeaning to the female sex. When someone says “fuck you”, who, usually, is the one who is being “fucked”? A “fucker” is someone who “fucks”. A “pussy” is a derogative word used to refer to female genitals, just as “tits” is for the female breasts. A mother, such as Dorothy, sometimes uses her breasts to feed her infant. Breasts have a natural function that reinforces the intimate bond between mother and child. However, Frank is jealous of the meaning of the female breasts and the most likely bond between mother and child. Frank salivates at the sight of Dorothy’s breasts, but he also pinches them even though it is painful for her.

Frank Booth belongs to America’s seedy underground. It is his home, and probably what he knows best. Frank is most comfortable in the dark; we rarely seem him in daytime. Furthermore, when confronted by difference, his fear becomes obvious as he tries to dominate and control the environment. Jeffrey Beaumont represents the difference I refer to specifically. When Frank meets Jeffrey, he feels threatened and, much like a wild animal, we see Frank’s chest puff. Although Frank is shorter than Jeffrey, his aggressiveness causes Jeffrey to fear him on the spot. Frank further demonstrates his need to dominate in order to mask his feelings of inadequacy by attempting to emasculate Jeffrey and calling him a pussy. Frank also humiliates Jeffrey by smearing his own mouth with red lipstick and forcefully kissing an unwilling Jeffrey who is being held by Frank’s goons. Lipstick, the reification of femaleness has a significant role in this scene. Frank smears the stuff onto his own face and does the kissing. It seems that in attempting to humiliate and emasculate Jeffrey, Frank is actually humiliating and emasculating himself. His threats against Jeffrey demonstrate that it is actually Frank who feels threatened by Jeffrey and his possible relationship with Dorothy. Frank wants to dominate and to be the alpha male of his “kingdom”. If Dorothy develops a significant relationship with Jeffrey, Frank will lose his hold on her. It is also important to note the polarity established between Frank Booth and Jeffrey Beaumont. Frank is an older, violent and sadistic man who dwells in a seedy world of drugs, sex, and violence. Jeffrey is a young college student who comes from a well-to-do, white-picked-fenced, very “American Dream” world. Jeffrey is also sincere, innocent and gullible. He wants to help Dorothy.

However, Dorothy Vallens’ innocence and victimization throughout the movie could be questioned. Is Dorothy a victim or a masochist? While she does seem afraid of Frank Booth, it is a well-known fact that masochists often feel a rush of excitement before and during the abuse. Is this the case for Dorothy? During one of her sexual encounters with Jeffrey, she orders him to hit her. When he refuses, she chases him out of her bed and tells him to get out. Her frustration and confusion are quite palpable. The role of “victim” is an easy one to play, and it does attract much sympathy. Her unwillingness to contact the police chief could be construed as another indicator of her willingness to participate in Frank Booth’s twisted scenario. She sings the song he loves, “Blue Velvet” (the very song Frank is obsessed with) while seductively looking at Frank during her show at the club. One could ask: ‘Does she like what Frank is doing to her?’, ‘Does it stimulate a primitive impulse within her?’. Nevertheless, when Dorothy is brought to the place where her son is being held captive, her true nature reveals itself. She is a mother first and foremost. The scene during which Jeffrey plays with her son’s hat is also an indicator of this. Dorothy misses her son and wants him back. However, she is scared of what Frank will do if she does not play along.

In the end, Frank’s psychoneurosis causes him to entrap others in his twisted world and enslave them. Throughout all of this, his violent behaviour does mask his feelings of inadequacy. A probable childhood trauma involving his mother is still quite vivid in Frank’s mind as it is painful. To counter his pain, he takes various drugs. To fulfill his fantasy of bedding his mother, he “fucks anything that moves”. In order to hide his true feelings of inferiority, he dominates and violates. To conceal his own enslavement to his shameful impulses, he enslaves Dorothy. To mask his fear of Jeffrey and what Jeffrey represents, Frank humiliates him and tries to emasculate Jeffrey because Frank himself feels emasculated. What Frank forces others to endure is a simple reflection of how he feels deep inside.

Works Cited

Advances in Psychiatric Treatment. www.apt.rcpsych.org accessed on December 19, 2012.

Blue Velvet. Dir. David Lynch. Perf. Kyle MacLachlan, Isabella Rossellini, Dennis Hopper. Metro Goldwyn Mayer, 1986. DVD.

Britannica Online Encyclopaedia. http://www.britannica.com/EBchecked/topic/481779/psychoneurosis accessed on December 16, 2012.

Dirks, Tim. Filmsite. www.filmsite.org/blue2.html accessed on December 15, 2012.

Encyclopedia of Mental Disorders. www.minddisorders.com accessed on December 16, 2012.

Freud, Sigmund. The Interpretation of Dreams. Wordsworth Editions Limited. 1997. Hedfordshire, U.K.

Hamilton, Terri. Skin Flutes & Velvet Gloves. A Collection of Facts and Fancies, Legends and Oddities About the Body’s Private Parts. New York, NY, U.S.A: St. Martin’s Press. 2002. Accessed through Google Books on December 22, 2012.

Internet Movie Database. Blue Velvet. www.imdb.com accessed on December 17, 2012.

Merriam-Webster Online Dictionary. http://www.merriam-webster.com accessed on December 20, 2012.

Sidis B. Somopsychosis and Psychoneurosis. Symptomatology, psychognosis, and diagnosis of psychopathic diseases [e-book]. Boston, MA US: The Gorham Press; 1914:376-389. Available from: PsycINFO, Ipswich, MA. Accessed December 22, 2012.

Wikipedia.org. www.wikipedia.org accessed on December 16, 2012.