Eraserhead is a 1977 American surrealist horror film written, directed, produced, and edited by David Lynch. Lynch also created its score and sound design, which included pieces by a variety of other musicians. Shot in black and white, it was Lynch's first feature-length effort following several short films. Starring Jack Nance, Charlotte Stewart, Jeanne Bates, Judith Anna Roberts, Laurel Near, and Jack Fisk, it tells the story of a man who is left to care for his grossly deformed child in a desolate industrial landscape. Eraserhead was produced with the assistance of the American Film Institute (AFI) during Lynch's time studying there. It nonetheless spent several years in principal photography because of funding difficulties; donations from Fisk and his wife Sissy Spacek kept production afloat. It was shot on several locations owned by the AFI in California, including Greystone Mansion and a set of disused stables in which Lynch lived. Lynch and sound designer Alan Splet spent a year working on the film's audio after their studio was soundproofed. The soundtrack features organ music by Fats Waller and includes the song "In Heaven", written and performed for the film by Peter Ivers, with lyrics by Lynch. Initially opening to small audiences and little interest, Eraserhead gained popularity over several long runs as a midnight movie. Since its release, it has earned positive reviews and is considered a cult film. Its surrealist imagery and sexual undercurrents have been seen as key thematic elements, and its intricate sound design as its technical highlight. In 2004, the film was selected by the Library of Congress for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant". Plot The Man in the Planet (Jack Fisk) is moving levers in his home in space, while the head of Henry Spencer (Jack Nance) floats in the sky. A spermatozoon-like creature emerges from Spencer's mouth, floating into the void. In an industrial cityscape, Spencer walks home with his groceries. He is stopped outside his apartment by the Beautiful Girl Across the Hall (Judith Anna Roberts), who informs him that his girlfriend, Mary X (Charlotte Stewart), has invited him to dinner with her family. Spencer leaves his groceries in his apartment, which is filled with piles of dirt and dead vegetation. That night, Spencer visits X's home, conversing awkwardly with her mother. At the dinner table, he is asked to carve a chicken that X's father has "made"; the bird moves and writhes on the plate and gushes blood when cut. After dinner, Spencer is cornered by X's mother, who tries to kiss him. She tells him that X has had his child and that the two must marry. X, however, is not sure if what she bore is a child. The couple move into Spencer's one-room apartment and begin caring for the child—a swaddled bundle with an inhuman, snakelike face, resembling the spermatozoon creature seen earlier. The infant refuses all food, crying incessantly and intolerably. The sound drives X hysterical, and she leaves Spencer and the child. Spencer attempts to care for the child, and he learns that it struggles to breathe and has developed painful sores. Spencer begins experiencing visions, again seeing the Man in the Planet, as well as the Lady in the Radiator (Laurel Near), who sings to him as she stomps upon miniature replicas of Spencer's child. After a sexual encounter with the Beautiful Girl Across the Hall, Spencer has another vision, the Lady in the Radiator sings ("In Heaven Everything Is Fine") as Spencer watches his own head fall off, revealing a stump underneath that resembles the child's face. Spencer's head falls from the sky, landing on a street and breaking open. A boy finds it, bringing it to a pencil factory to be turned into erasers. Awakened, Spencer seeks out the Beautiful Girl Across the Hall, but finds her with another man. Crushed, Spencer returns to his room. He takes a pair of scissors and for the first time removes the child's swaddling clothes. It is revealed that the child has no skin; the bandages held its internal organs together, and they spill apart after the rags are cut. The child gasps in pain, and Spencer stabs its organs with the scissors. The wounds gush a thick liquid, covering the child. The power in the room overloads, causing the lights to flicker; as they flick on and off the child grows to huge proportions. As the lights burn out completely, the child's head is replaced by the planet seen at the beginning. Spencer appears amidst a billowing cloud of eraser shavings. The side of the planet bursts apart, and inside, the Man in the Planet struggles with his levers, which are now emitting sparks. Spencer is embraced warmly by the Lady in the Radiator, as both white light and white noise build to a crescendo before the screen turns black and silent. Production Pre-production Writer and director David Lynch had previously studied for a career as an artist, and he had created several short films to animate his paintings. By 1970, however, he had switched his focus to film-making, and at the age of 24 he accepted a scholarship at the American Film Institute's Center for Advanced Film Studies. Lynch disliked the course and considered dropping out, but after being offered the chance to produce a script of his own devising, he changed his mind. He was given permission to use the school's entire campus for film sets; he converted the school's disused stables into a series of sets and lived there. In addition, Greystone Mansion, also owned by the AFI, was used for many scenes.Lynch had initially begun work on a script titled Gardenback, based on his painting of a hunched figure with vegetation growing from its back. Gardenback was a surrealist script about adultery, which featured a continually growing insect representing one man's lust for his neighbor. The script would have resulted in a roughly 45-minute-long film, which the AFI felt was too long for such a figurative, nonlinear script. In its place, Lynch presented Eraserhead, which he had developed based on a daydream of a man's head being taken to a pencil factory by a small boy. Several board members at the AFI were still opposed to producing such a surrealist work, but they acquiesced when Dean Frank Daniel threatened to resign if it were to be vetoed. Lynch's script for Eraserhead was influenced by his reading as a film student; Franz Kafka's 1915 novella The Metamorphosis and Nikolai Gogol's 1836 short story "The Nose" were strong influences on the screenplay. Lynch also confirmed in an interview with Metro Silicon Valley that the film "came together" when he opened up a Bible, read one verse from it, and shut it; in retrospect, Lynch could not remember if the verse was from the Old Testament or the New Testament. In 2007, Lynch said "Believe it or not, Eraserhead is my most spiritual film."The script is also thought to have been inspired by Lynch's fear of fa.... Discover the Roxie Odell popular books. Find the top 100 most popular Roxie Odell books.
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