John Carroll Lynch, a name synonymous with compelling character portrayals in acclaimed productions like American Horror Story, Fargo, and The Founder, steps into a new role, showcasing his versatility as a filmmaker with his directorial debut, Lucky. This poignant film not only marks Lynch’s exciting venture behind the camera but also delivers the final, unforgettable performance of the legendary Harry Dean Stanton.
Stanton, a prolific figure in Hollywood history with a career spanning iconic films from Cool Hand Luke to Alien, and Paris, Texas to Repo Man, embodies the titular character in Lucky. The film portrays Lucky, a resilient 90-year-old man navigating life in a remote desert town during his twilight years. Written by Logan Sparks and Drago Sumonja, Lucky has garnered critical acclaim, with many considering Stanton’s performance his finest since Paris, Texas, solidifying its place as a lasting tribute to his remarkable life and artistic legacy. The supporting cast enriches the narrative, featuring Ed Begley Jr. as Lucky’s empathetic doctor and the enigmatic David Lynch as Howard, the owner of an escaped tortoise named President Roosevelt.
In an interview conducted shortly after the Los Angeles premiere, John Carroll Lynch shared insights into the making of Lucky, emphasizing its unique ability to deeply resonate with viewers through its seemingly simple narrative.
“Lucky is a very special movie: not much really happens, and yet it manages to involve the viewers deeply.” This observation, as noted in early reviews, captures the essence of the film’s charm. Lynch elaborates on this, explaining, “Except everything happens, because this is life!” He further delves into the film’s thematic core, “That’s one of the things that I loved most about it, the sense of an epiphany that I myself experienced when some things happen that don’t alter much of the course of one’s life but certainly re-orient it.” This subtle yet profound shift in perspective is what Lucky masterfully portrays.
The genesis of Lucky is deeply intertwined with Harry Dean Stanton himself. John Carroll Lynch reveals, “I understand the script was written with Harry Dean Stanton in mind.” He confirms this, stating, “Yes, it was absolutely shaped around Harry, both in terms of his behavior and in terms of his autobiography.” Logan Sparks, one of the screenwriters, maintained a close relationship with Stanton as his assistant for 15 years, providing an intimate understanding that informed the script. Lynch highlights the unusual dynamic, “It was a weird circumstance to have a movie inspired by a person that the actor actually is, as opposed to who he is playing.” This blurring of lines between actor and character presented a unique challenge and opportunity for Stanton. “And while some people think that would make it easier to act, it actually makes it harder, because you are working against your own biography while you create this character. So it was really a tricky bit of business for Harry.” This meta-narrative layer adds depth to Stanton’s performance, making it all the more compelling.
Lynch further elaborates on the parallels between Stanton’s persona and the character of Lucky. “Was Harry like that in life, sort of a loner?” he is asked. While acknowledging Stanton didn’t live in isolation like Lucky, Lynch points out, “But there’s always been something enigmatic about the center of Harry Dean that the movie definitely captures.” He emphasizes the film’s exploration of Stanton’s worldview, “The sense of how the world looks to the character, that there is no God or afterlife, that is straight out of Harry Dean’s playbook, both in his life and in his art.” This existential perspective is central to Lucky, raising the stakes for the protagonist as he confronts mortality. “I liked those things for the character because it means the stakes are really high and you only have a certain amount of time left. There’s a limit and you have to come to terms with it. That’s what I was passionate about in this story.”
A still from Lucky directed by John Carroll Lynch, featuring David Lynch and Harry Dean Stanton, highlighting the warm on-screen chemistry between the actors.
The presence of David Lynch in the film adds another layer of intrigue. John Carroll Lynch explains David Lynch’s casting, “What about David Lynch? How did it come about?” He reveals it was Stanton’s suggestion, “Harry suggested David for the part and it seemed like a good idea to everyone involved.” Having witnessed their camaraderie in the documentary Harry Dean Stanton: Partly Fiction, Lynch recognized the perfect fit. “I had seen David’s work in films other than the ones he directed and I had also seen the two of them in the Harry Dean Stanton: Partly Fiction documentary (2012), and the warmth between them was so palpable. It seemed like a perfect fit to me.” Despite David Lynch’s busy schedule with Twin Peaks, he committed to the project. “He ended up giving us two days, came fully prepared and gave us what we needed. It’s amazing. It’s the second largest part of the movie.”
John Carroll Lynch emphasizes the significance of David Lynch’s role in Lucky, “And an important role…” He describes their dynamic as crucial to the film’s harmony, “Yes, Howard’s journey is like the harmony line to Lucky’s melody line in the piece, so it had to work.” Working with David Lynch as an actor proved to be a positive experience for John Carroll Lynch. “It was fun to work with David, and it wasn’t intimidating because he came as an actor and I felt I was working with an actor. He really put me at ease.”
Music plays a vital role in Lucky, particularly Harry Dean Stanton’s harmonica performances. “The music is an important element of Lucky, especially with Harry Dean playing the harmonica,” the interviewer notes. Lynch affirms this, “Yes. There’s also Johnny Cash and “I see a Darkness”, which is not the kind of music you can afford in a movie like this, but it was worth it because it emotionally worked.” The connection between Stanton and Johnny Cash further enriches the film’s atmosphere. “Johnny Cash and Harry Dean’s careers were kind of concurrent, they both started working at the same time, in 1956.” The harmonica melodies, often played by Stanton himself, are integral to the film’s emotional landscape. “And then, of course, most of the time we hear the harmonica of “Red River Valley” it was Harry playing. We went up to his house to record it and he just played four or five different variations of the song.” Lynch reveals Stanton’s deep connection to music, “I really got a sense that his self-identification was more likely to be a musician than an actor I think.”
Stanton’s musical talents extended beyond the harmonica. “He used to sing as well,” it’s mentioned. Lynch confirms his musical passion, “He had a band and he had tours in Australia that would sell out, he was a bona fide musician. Mariachi music, of course, was one of his passions, so that gave us an opportunity for a special moment right in the middle of the film, at a very crucial moment. When he sings, and when he plays the harmonica, it is so touching!”
Tragically, Harry Dean Stanton passed away before seeing the completed film. “Did Harry Dean have a chance to see the finished movie?” Lynch is asked. “Sadly not,” he replies. “We offered to show it to him of course, but he didn’t want to see it on a link, he wanted to wait and see it in a theatre, and time went by, screenings were pushed back and then it was too late.” Despite the bittersweet circumstances, John Carroll Lynch reflects on Stanton’s legacy through Lucky. “Some people ask me if it is bittersweet, and I say no, there is nothing sweet about it, is just bitter. As I said, I think he would have loved it.” Through Lucky, John Carroll Lynch has not only delivered a remarkable directorial debut but also gifted audiences with a poignant and enduring tribute to Harry Dean Stanton.
