Жүректердің қызығы (Жүректің құмарлығы)

1990 film by David Lynch

Wild at Heart won the Palme d'Or at the 1990 Cannes Film Festival, which at the time was considered a controversial decision. The film was theatrically released in the United States on August 17, 1990, to polarizing reviews from critics and grossed $14 million against its $10 million budget. At the 6th Independent Spirit Awards, Dafoe was nominated for Best Supporting Male and Elmes won for Best Cinematography. Ladd was nominated for the Academy Award for Best Supporting Actress and the Golden Globe Award for Best Supporting Actress – Motion Picture at the 63rd Academy Awards and the 48th Golden Globe Awards, respectively. The film has been positively reevaluated by critics in the years since its release.

Lovers Lula and Sailor are separated after he is jailed for killing a man who attacked him with a knife; the assailant, Bobby Ray Lemon, was hired by Lula's mother, Marietta Fortune. Upon Sailor's release, Lula picks him up outside prison, where she hands him his snakeskin jacket. They go to a hotel where she reserved a room, make love, and go to see the speed metal band Powermad. At the club, Sailor gets into a fight with a man who flirts with Lula, and then leads the band in a rendition of the Elvis Presley song "Love Me". Later, back in their hotel room, after making love again, Sailor and Lula finally decide to run away to California, breaking Sailor's parole. Marietta arranges for private detective Johnnie Farragut—her on off boyfriend—to find them and bring them back. But unbeknownst to Farragut, Marietta also hires gangster Marcello Santos to track them and kill Sailor. Santos's minions capture and kill Farragut, sending Marietta into a guilt fueled psychosis. Unaware of all the events happening back in North Carolina, Lula and Sailor continue on their way until they witness—according to Lula—a bad omen: the aftermath of a two car accident, and the only survivor, a young woman, dying in front of them. With little money left, Sailor heads for Big Tuna, Texas, where he contacts his old acquaintance, Perdita Durango, who might be able to help them, although she secretly knows Lula's mother has a contract out for his murder. At an outdoor party, Lula and Sailor meet Bobby Peru, a career criminal. Lula, who has been feeling ill, tells Sailor she is pregnant with his child. While Sailor is changing their car's oil, Lula waits for him in the hotel room. Peru enters the room and threatens to sexually assault Lula, forcing her to ask him to have sex with her before leaving, stating he has no time. This traumatizes Lula, who was also raped as a child. Not knowing about Peru's abuse of Lula, Sailor agrees to accompany him to a bar. Over beers, Peru enlists Sailor's help in robbing a nearby feed store, which allegedly keeps $5,000 in cash on hand. The robbery goes spectacularly wrong when Peru unnecessarily shoots the two store clerks. Peru then admits to Sailor that he has been hired to kill him, and Sailor realizes he has been given a pistol with dummy ammunition. Chasing Sailor out of the store, Peru is about to kill him when the sheriff's deputy opens fire on him and Peru blows his own head off with his own shotgun. Sailor is arrested and sentenced to six years in prison. While Sailor is in jail, Lula has their child. Upon his release, Lula decides to reunite with him. Rejecting her mother's objections over the phone, she throws water over her mother's photograph and goes to pick up Sailor with their son. When they meet Sailor, he reveals he will be leaving them both, having decided that mother and son are better off without his influence. While he is walking a short distance away, Sailor encounters a gang whose members surround him. He insults them, and they quickly knock him out. While unconscious, he sees a vision in the form of Glinda the Good Witch, who tells him, "Don't turn away from love, Sailor." When he awakens, Sailor apologizes to the men, tells them he realizes the error of his ways, and then runs after Lula. The photograph of Marietta, in Lula's house, sizzles and vanishes. As there is a traffic jam on the road, Sailor begins to run over the roofs and hoods of the cars to get back to Lula and their child in the car. Sailor sings "Love Me Tender" to Lula, having earlier said that he would only sing that song to his wife.

In the summer of 1989, Lynch had finished the pilot episode for the successful television series Twin Peaks, and tried to rescue two of his projects—Ronnie Rocket and One Saliva Bubble—both involved in contractual complications as a result of the bankruptcy of Dino De Laurentiis, which had been bought by Carolco Pictures. Lynch stated, 'I've had a bad time with obstacles it wasn't Dino's fault, but when his company went down the tubes, I got swallowed up in that.' He let Montgomery read it in pre published galley form while the producer was working on the pilot episode for Twin Peaks. Montgomery read it, and two days later he called Gifford and told him that he wanted to make a film of it. Lynch remembers telling him, 'That's great Monty, but what if I read it and fall in love with it and want to do it myself?' Montgomery did not think that Lynch would like the book because he did not think it was his 'kind of thing'. Lynch had Cage and Dern read Gifford's book Lynch did not like the ending in Gifford's book, where Sailor and Lula split up for good. For Lynch, 'it honestly didn't seem real, considering the way they felt about each other. It didn't seem one bit real! It had a certain coolness, but I couldn't see it.' It was at this point that the director's love of The Wizard of Oz (1939) began to influence the script he was writing, and he included a reference to the 'yellow brick road'. Lynch remembers, 'It was an awful tough world, and there was something about Sailor being a rebel. But a rebel with a dream of the Wizard of Oz is kinda like a beautiful thing.' During rehearsals, Lynch began talking about Elvis Presley and Marilyn Monroe with Cage and Dern. He also acquired a copy of Elvis' Golden Records and after listening to it, called Cage and told him that he had to sing two songs, "Love Me" and "Love Me Tender". Cage agreed, and recorded them so that he could lip synch to them on the set. Cage asked Lynch if he could wear a snakeskin jacket in the film, and Lynch incorporated it into his script. There are various references to The Wizard of Oz, which has been interpreted as indicative of the overall fantasy world of the movie, which Sailor's obsession with the fantasies of Elvis and the couple's fantastical relationship also speak to. However, Lynch himself refers to the ending of Wild at Heart as being 'happy', having consciously made the decision to change the original darker ending from the novel.

Early test screenings for Wild at Heart did not go well, with the strong violence in some scenes being too much. At the first test screening, 80 people walked out during a graphic torture scene involving Johnnie Farragut. When Jury President Bernardo Bertolucci announced the film as the winner of the Palme d'Or at the awards ceremony, Gifford remembers that there was a prevailing mood that the media was hoping Lynch would fail. "All kinds of journalists were trying to cause controversy and have me say something like 'This is nothing like the book' or 'He ruined my book'. I think everybody from Time magazine to What's On in London was disappointed when I said 'This is fantastic. This is wonderful. It's like a big, dark, musical comedy'".

The Motion Picture Association of America (MPAA) told Lynch that the version of Wild at Heart screened at Cannes would receive an X rating in North America unless cuts were made, as the NC 17 was not in effect in 1990, at the time of the film's release; It went into wide release on August 31 with 618 theaters and grossing an additional $1,858,379. The film ultimately grossed $14,560,247 in North America.

Wild at Heart initially received mixed reviews from critics. On review aggregator Rotten Tomatoes, the film has an approval rating of 65% based on 54 reviews, with a weighted average of 6.4/10. The site's consensus reads: 'One of director David Lynch's more uneven efforts, Wild at Heart is held together by his distinctive sensibilities and compelling work from Nicolas Cage and Laura Dern.' On Metacritic, the film has a weighted average score of 52 out of 100, based on 18 critics, indicating 'mixed or average reviews'. In his review for the Chicago Sun Times, Roger Ebert wrote that Lynch 'is a good director, yes. If he ever goes ahead and makes a film about what's really on his mind, instead of hiding behind sophomoric humor and the cop out of 'parody', he may realize the early promise of his Eraserhead. But he likes the box office prizes that go along with his pop satires, so he makes dishonest movies like this one.' USA Today gave the film one and a half stars out of four and said: "This attempt at a one up also trumpets its weirdness, but this time the agenda seems forced." In his review for Sight & Sound magazine, Jonathan Rosenbaum wrote, 'Perhaps the major problem is that despite Cage and Dern's best efforts, Lynch is ultimately interested only in iconography, not characters at all. When it comes to images of evil, corruption, derangement, raw passion and mutilation (roughly in that order), Wild at Heart is a veritable cornucopia.' Richard Combs in his review for Time wrote, "The result is a pile up, of innocence, of evil, even of actual road accidents, without a context to give significance to the casualties or survivors". Christopher Sharrett, in Cineaste magazine, wrote: 'Lynch's characters are now so cartoony, one is prone to address him more as a theorist than director, except he is not that challenging one is never sure what Lynch likes or dislikes, and his often striking images are too often lacking in compassion for us to accept him as a chronicler of a moribund landscape a la Fellini.' However, in Rolling Stone, Peter Travers wrote: 'Starting with the outrageous and building from there, he ignites a slight love on the run novel, creating a bonfire of a movie that confirms his reputation as the most exciting and innovative filmmaker of his generation.'

Despite mixed initial reviews, Wild at Heart came to be viewed favorably in subsequent years. It was ranked the 47th best film of the 1990s in an IndieWire critics' poll, the 26th greatest film of the same period in a Complex poll, and the 53rd best in Rolling Stones poll.