There is a character in the film described in the credits as The
Mystery Man, whom Lynch describes as a hair of an abstraction.24
The description suits the film as a whole, encapsulating the
ephermerality and mystery, especially of the narrative, while still
insisting on its material status, as incarnated. In the same way as a
single hair can today provide information about the perpetrator of a
crimecan provide enough evidence to convictwithout ever revealing
the entire story or even the motivation in certainty, Lost Highway
deals with a mystery that is felt rather than revealed, which saturates
the characters, settings, and spectators without ever being fully
actualized. The mystery man, with his face made up like a mask, is a
figure of crossing in the film, appearing in both realities unchanged.
He literally embodies the delay of lost time, a figure of terror and
uncertainty at once. At one point in the film, he hands Fred a phone at
a party: Fred phones his own home, only to be answered by the
mystery man, who stands in front of him, in both places at once In this
scene, he is in two places at once, physically and telephysically
present. His approach causes the surrounding sounds of the party to
fall away, almost as if he and Fred were now moving at a different
rate of time. There is an association of the mystery man with the
undeath, the suspension of recording and communication devices in
the film. This undeath is associated with distortions of space and time,
with reversibility. With the mystery man, one type of
suspensenarrative suspense, Freds growing suspicion of Renee and
his surveillance of her at the partybecomes a kind of epistemological
suspense. How did you do that? he asks, but also what is the mystery
man? the audience wonders. The voice on the phone gains its effect
from being at once non-diegetic and un-localizable, and spectrally
embodied by the mystery man. Writers on early cinema have noted
the parallels between the scientific, evidentiary nature of filmic
perception, and its uncanny side effects. This comes to be in the hair
of the abstraction of the mystery manthe literalization of spectrality.
This affect of time, both literal and spectral, is conveyed through the
paranoia of the first third of the film, through characters, setting and
tone. The first third is remarkable for its stillness, quiet and pacing. It
is excruciatingly uncomfortable to watch, and yet not much happens.
Most of it takes place in Renee and Freds home, an unheimlich or
uncanny space if there ever was one. In his essay on the uncanny,
Freud notes that heimlich, homely or familiar, also comes to mean its
opposite: secret, hidden. Unheimlich is not simply a state then, or a
quality, but specifically a quality in motion, a quality that developsit is
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