Blue Velvet is a film with an enduring power to unsettle viewers. Its unique brand of ‘darkness in colour’ (to borrow Pauline Kael’s phrase) features also at the level of language, with the cornball goofing of its young sweethearts set against the malevolent and compulsive profanity of Frank Booth, played by Dennis Hopper.
For his book Lynch on Lynch, Chris Rodley asked David Lynch if all of Frank’s fucks were in the script or if any were improvised. Lynch replied:
I had many, many, many of them written in the script, but Dennis always added more, because you get on a roll, and you can’t help yourself. And if an actor is locked into the groove so solidly, even if they say extra lines, or not exactly the way they’re written, they’re truthful. And for me Dennis was one of those guys. He always says that I could never say the word on set and that I would go to the script and say, ‘Dennis, when you say this word.’ [Laughs.] That’s not true exactly.
The filmmakers initially passed on Hopper because of his reputation, but the actor persisted and Lynch, thankfully, reconsidered. Without presuming to psychoanalyze Booth – ‘there’s enough material there for an entire conference,’ as the psychiatrist said of Basil Fawlty – we can see in his profanilect* motifs of incest, defecation, and violence, among other things. He swears inventively but also routinely, and constantly.
Enough fucking about. Let’s look at some examples. (Spoiler and trigger warnings ahoy.)
The new movie Only the Brave tells the true story of a group of firefighters who battled a deadly wildfire in Arizona in 2013. In his review in the Village Voice, Bilge Ebiri writes that “much of the dialogue in Ken Nolan and Eric Warren Singer’s script works at that level of earnest, tough-guy poetry, like a fortune cookie you might find in a vat of Skoal dipping tobacco.” One example Ebiri gives of this tough-guy poetry: “I know you guys are looking for sympathy, but the only place you’re gonna find it is in the dictionary, somewhere between ‘shit’ and ‘syphilis.'”
The GQ article on which the movie is based doesn’t have that specific line, though it does quote some other rough-and-tumble language from Brendan McDonough (aka “Donut”), a young member of the 20-man hotshot fire crew (played by Miles Teller in the film). “The reason we’re so close is you’re fucking put through some shit,” Donut says. But the “shit and syphilis” line is certainly something you could imagine coming out of the mouth of a hardened firefighter. In fact, it’s got a pedigree going back to World War II, with less obscene variations dating back to the nineteenth century.
In the two years since I first wrote about seeing “AF” — the abbreviation for the intensifier “as fuck” — in various interesting places, I’ve kept track of its spread from the fringes to the mainstream, or at least a major tributary of the mainstream, of popular culture. In April of this year, when I noted its use in New York subway advertisements by the food-delivery service FoodKick, I speculated that this was the first time AF had appeared in a commercial context. Well, I was wrong. It wasn’t the first. And it certainly hasn’t been the last.
Have those creepy clowns been terrorizing your neighborhood this autumn? Kick ‘em in the seat of their oversized, particolored pants with this choice insult: assclown. To be sure, I’m certain we can all conjure up some far stronger words for those evil motherfuckers, but let’s have a closer look at this jester jibe.
As far as strong language goes, sausage party is hardly spicy. It’s a mild slang term for a social gathering in which men greatly outnumber women, usually expressed with a sense of bro-ish disappointment by its male members, er sausages. But a new adult computer-animated movie, Sausage Party, is getting a big rise out of its ham-handed innuendo.