Plot Structure

From Lost Highway

Analyses of Lost Highway's

Lost Highway develops by means of the carefully orchestrated repetition and reconfiguration of themes.

After revealing Fred’s murderous desire to possess Renee, the film introduces doubles (Pete and Alice) while inverting key characteristics: Fred is an inadequate lover, whereas Pete is a virile lover; Fred is middle-aged, whereas Pete is young; Renee is unsatisfied, whereas Alice is insatiable; Renee is a dark brunette, whereas Alice is a platinum blonde.

Through the doubles, implicit themes and dynamics are made explicit:

• she is possessed by another man (Mr. Eddy/Dick Laurent)
• she is a whore (as depicted through her relationship to Andy, the pornographic filmmaker)
• he is threatened by the possessive 'other man' (literally: Mr. Eddy threatens Pete with a gun)
• he kills the man associated with her whorishness (Andy)

The character inversions are then exposed as lies driven by the truth that she eludes his possession:

Pete: "I want you Alice."
Alice:"You’ll never have me."
(...Pete transforms into Fred...)
Fred: "Where's Alice?"
Mystery Man: "Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?"

Reintroducing the original pair of Fred and Renee, the concluding section of the film synthesizes and resolves the plot’s development (compare with the following with the preceding list of bullet points):

• Renee is with the possessive 'other man' (Mr. Eddy/Dick Laurent)
• she is a whore (as depicted with Renee in the porn film)
• Fred beats the possessive 'other man' with a gun, while wearing his counterpart's virile clothes (Fred wears Pete's motorcycle jacket throughout the concluding section of the film)
• Fred murders Laurent (with the help of the Mystery Man)

For more detailed analyses of the repetition and reconfiguration of thematic elements, see Psychogenic Fugue: Musical below and Lost Highway Scene Analyses: Repetitions in Lost Highway.

Freytag analysis

Though originally based on an analysis of five-act plays, Gustav Freytag's model of dramatic structure has been applied to plot structures in various mediums and genres and can be used to interpret the structure of Lost Highway.

Freytag divided a dramatic structure into five components:

• Exposition (and inciting incident)
• Rising action
• Climax (or turning point)
• Falling action (and resolution)
• Dénouement

Freytag's model is sometimes represented visually as Freytag's Pyramid.

Exposition (and inciting incident) The exposition introduces the central characters and the central conflict of the story and ends with an inciting incident which set the remainder of the plot in motion.

Rising action During the rising action, the central conflict may be intensified, or may be complicated by the introduction of additional conflicts; additional obstacles that frustrate the protagonist's attempt to reach his or her goal; and/or additional antagonists, who may work with other antagonists or independently, by and for themselves.

Climax (or turning point) The climax, or turning point, marks the culmination of the central conflict for the protagonist and is typically characterized by the protagonist's effective or imminent success or defeat, a stalemate, a redefinition of the protagonist's goals, etc..

Falling action (and resolution) The falling action may unravel the aftereffects of the climax; the protagonist's additional conflicts; and/or the fate of additional antagonists or other characters. The falling action completes or ends with the resolution of the plot's conflicts and the characters' fates, whether in confirmed success or triumph, irreversible failure or loss, resignation, preparation for a new direction, etc..

Dénouement The resolution may serve as the plot's dénoument, or the dénoument may a feature a final reflection on the protagonist, the central conflict, or its outcome; a recognition of the protagonist's virtues or flaws; a recognition of self-knowledge gained or lost; a recognition that the success achieved has an uncertain future or does not satisfy the protagonist as hoped; a celebration or mourning of the conflict's outcome; etc..

Treating Lost Highway

• Exposition (and inciting incidents): The exposition introduces Fred and Renee and explores their relationship, with Renee as the antagonist who prevents the fulfillment of Fred's desires. The inciting incidents are Renee's murder and Fred's transformation into Pete, though Fred's receiving that message that "Dick Laurent is dead" may also be considered an initial inciting incident.
• Rising action: The rising action focuses on re-exploring the dynamics of Fred and Renee's relationship via the relationship between Pete and Alice, with Alice appearing not as an antagonist but as fulfilling Pete's desires. The rising action also introduces Mr. Eddy as an antagonist for Pete in his relationship with Alice.
• Climax (or turning point): The climax consists in the re-emergence of Alice as an antagonist at Andy's house and in the sex scene at the cabin, culminating in Alice's rejection of Pete's desire to possess her ("You'll never have me.") The desire for possession having ended in failure, Pete's transformation back into Fred marks a turning point, immediately after which the identities of Pete and Alice are revealed as lies by the Mystery Man ("Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?").
• Falling action (and resolution): During the falling action and resolution, Fred finds Renee with Laurent at the "Lost Highway Hotel", Fred and confronts and murders the antagonist Laurent with the help of the Mystery Man. On some interpretations of Lost Highway, the resolution may be considered to include the remainder of the film, ending with Fred's death. See
• Dénouement: If the resolution is interpreted as ending with the murder of Laurent, Fred's return home and delivery of the message, "Dick Laurent is dead," may be interpreted as Fred's acquisition of self-knowledge and his simultaneous state of being condemned to the psychological cycle he has just completed. See