The Straight Story

The Straight Story

When you know that David Lynch directed such surreal, twisted films as Eraserhead, Blue Velvet, and Lost Highway, hearing that he also made a G-rated film about an old man and his tractor sounds like the beginning of a monumentally bad joke. In 1999, though, he did just that, and the movie he made is The Straight Story.  

The Straight Story gets its title from its protagonist, Alvin Straight (Richard Farnsworth, nominated for an Oscar in his final film role; he died the year after the film was released), although the title can also be taken as a warning to Lynch fans expecting his usual lurid twists and turns: this story will be straightforward and simple, quiet and reflective.  

As far as the story goes, it is about Alvin’s journey to visit his ailing brother Lyle (Harry Dean Stanton), with whom he has not spoken in years. Alvin’s eyesight is too poor for him to drive, and he does not like riding with anyone else driving, so he decides to drive his riding lawnmower the ninety-odd miles to visit his brother before it is too late. He meets some people and has some minor setbacks along the way, but that’s really it as far as plot.  

As quietly captivating as Farnsworth’s performance is, the star of The Straight Story is really the midwestern landscape. Captured by cinematographer Freddie Francis, who also worked with Lynch on The Elephant Man and Dune, the green cornfields and, yes, amber waves of grain become a contemplative space onscreen, allowing the audience to enter in to the languid, possibly mystical experience of Alvin Straight’s journey.  

And if the cinematography is the star, the soundtrack is the supporting actor. Frequent Lynch collaborator Angelo Badalamenti’s spare, evocative score perfectly complements Francis’s images, inviting the audience to slow down, look around, and pay attention to the deep mysteries of the journey. 

—Tyler Petty

  1. Directed by: David Lynch
  2. Produced by: Pierre Edelman
  3. Written by: John Roach Mary Sweeney
  4. Music by: Angelo Badalamenti
  5. Cinematography by: Freddie Francis
  6. Editing by: Mary Sweeney
  7. Release Date: 1999
  8. Running Time: 112 min.
  9. Language: English

Arts & Faith Lists:

2005 Top 100 — #59

2006 Top 100 — #43

2010 Top 100 — #54

2011 Top 100 — #38

Similar Posts

  • In a Lonely Place

    In approximately a decade’s time, if not slightly longer, Nicholas Ray directed a corpus of artistically successful films comparable to William Wyler’s run of exceptional movies in the 1940s and 1950s, to Yasujiro Ozu’s mature work from 1949 to 1962, and to Jean-Luc Godard’s cinematic experiments in the 1960s. Like Godard (who was deeply influenced…

  • A Serious Man

    This dark comedy from Joel & Ethan Coen is a distillation of some of the duo’s most potent themes. Larry Gopnik (Michael Stuhlbarg) is our Job figure, a physics professor in suburban Minneapolis who finds his life falling apart both personally and professionally. The principle of uncertainty, introduced early in the film via Schroedinger’s famous…

  • Embrace of the Serpent

    The third feature by Colombian director Ciro Guerra, Embrace of the Serpent calls to mind Roland Joffe’s The Mission, with its story of colonial exploitation of South American tribes.  Its brink of insanity, hallucinatory vividness is reminiscent of Werner Herzog’s Fitzcarraldo and Aguirre, the Wrath of God. But Embrace of the Serpent is marvelous on its own terms.  Loosely inspired by the journals…

  • The Son

    It’s tricky to review The Son without raising viewers’ expectations. To rave about the film’s artistry might create a certain anticipation of being dazzled. But, “the truth must dazzle gradually,” and The Son — like all of the Dardenne Brothers’ films — is the antithesis of what most moviegoers consider “entertainment.” It is, rather, a story that unfolds without…

  • Summer Hours

    As the sun sets on a chapter of history, a beautiful estate in the countryside outside of Paris becomes the setting for this intricate meditation on art and history: What makes an object valuable? How is globalization changing our values? How is it changing the role of art in culture, the way things are made,…

  • Playtime

    The great French comedy director Jacques Tati starred in four of his own films, playing one of cinema’s most beloved comic figures, Monsieur Hulot. Hulot has a charming, Chaplin-esque presence, but the wonder of Tati’s films come from the extravagant activity that plays out in the world around him. You might consider Hulot an ancestor…