{{Infobox Film
| name           = Eraserhead
| image          = Eraserheadposter.jpg
| image_size     = 
| caption        = Theatrical release poster.
| director       = David Lynch
| producer       = David Lynch
| writer         = David Lynch
| narrator       = 
| starring       = Jack Nance<br />Charlotte Stewart<br />Jeanne Bates
| music          = David Lynch
| cinematography = Herbert Cardwell<br />Frederick Elmes
| editing        = David Lynch
| distributor    = Libra Films
| released       = March 19, 1977
| runtime        = 89 min.
| country        = United States
| language       = English
| budget         = $100,000 (estimated)
| gross          = $7,000,000
| preceded_by    = 
| followed_by    = 
| website        = 
| amg_id         = 1:15947
| imdb_id        = 0074486
}}
'''''Eraserhead''''' is a 1977 independent Peary, Danny.  ''Cult Movies'', Delta Books, 1981. ISBN 0-517-20185-2</ref> 

In 2004, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. Lynch has described his film as a "dream of dark and troubling things."<ref>[http://www.lynchnet.com/lh/cinebg.html Cinefantastique Barry Gifford Interview<!-- Bot generated title -->]</ref> 

==Synopsis==
The setting of the film is a slum in the heart of an industrial center. It is rife with urban decay, rundown factories, and a soundtrack composed exclusively of the noises of machinery. Henry Spencer (printer who is "on vacation." He gives off an air of nervousness, but makes few direct complaints about his life situation. At the start of the film, Henry, who has not heard from his girlfriend, Mary X (Charlotte Stewart) for a while, mistakenly believes that she has ended their relationship. He is invited to have dinner with Mary and her parents at their house. During dinner, Henry learns that Mary has just had a baby after an abnormally short pregnancy. Henry is then obliged to marry her. 

Mary and the baby move into Henry's one-room apartment. The baby is hideously deformed and has a reptilian appearance: a large snout-nose with slit nostrils, a pencil-thin neck, eyes on the sides of its head, no ears, and a limbless body covered in bandages. It continually whines throughout the night.

A sleep-deprived Mary abandons Henry and the baby. After Mary leaves, Henry must care for the baby by himself, and he becomes involved in a series of strange events. These include bizarre encounters with the Lady in the Radiator (Laurel Near), a woman with grotesquely distended cheeks who lives in his radiator (she sings the iconic song "In Heaven"); visions of the ominous Man in the Planet (Jack Fisk); and a sexual liaison with his neighbor, the Beautiful Girl Across the Hall (Judith Anna Roberts).

The film's title comes from a dream sequence occurring during the last half hour of the film. In it, Henry’s head detaches from his body, sinks into a growing pool of blood on a tile floor, falls from the sky, and, finally, lands on an empty street and cracks open. A young boy (Thomas Coulson) finds Henry's broken head and takes it to a pencil factory, where Paul (Darwin Joston), the desk clerk, summons his ill-tempered boss (Neil Moran) to the front desk by repeatedly pushing a buzzer. The boss, angered by the summons, yells at Paul, but regains his composure when he sees what the little boy has brought. The boss and the boy carry the head to a back room where the Pencil Machine Operator (Hal Landon, Jr.) takes a core sample of Henry's brain, assays it, and determines that it is a serviceable material for pencil erasers. The boy is then paid for bringing in Henry's head. The Pencil Machine Operator then sweeps the eraser shavings off of the desk and sends them billowing into the air.

After waking from this dream, Henry looks out his window and sees two men fighting in the street. He then seeks out the Beautiful Girl Across the Hall, but he finds her at her apartment with another man. The baby begins to laugh, and Henry takes a pair of scissors and cuts open the baby's bandages, which turn out to be part of its flesh (or simply what is holding all of its organs together). By cutting the bandages, Henry splits open the baby's body and exposes its vital organs. As the baby screams in pain, Henry stabs its lung with the scissors. This causes the apartment’s electricity to overload, and as the lights flicker on and off, an apparition of the baby's head, grown to an enormous size, materializes in the apartment. Henry is then seen with eraser shavings billowing around behind his head. The last scene features Henry being embraced by the ''Lady in the Radiator''.  They are bathed in white light, and white noise builds to a crescendo, then stops as the screen goes black.  The credits then begin to roll, signifying the end of the film.

==Cast==
* Jack Nance - Henry Spencer (as John Nance)
* Charlotte Stewart - Mary X
* Allen Joseph - Mr. X
* Jeanne Bates - Mrs. X
* Judith Anna Roberts - Beautiful Girl Across the Hall
* Laurel Near - Lady in the Radiator
* Vivienne Phipps-Wilson - Landlady (long version)
* Jack Fisk - Man in the Planet
* Jean Lange - Grandmother
* Thomas Coulson - The Boy
* John Monez - Bum
* Darwin Joston - Paul
* T. Max Graham - The Boss (as Neil Moran)
* Hal Landon Jr. - Pencil Machine Operator
* Jennifer Chambers Lynch - Little Girl (as Jennifer Lynch)
* Brad Keeler - Little Boy
* Peggy Lynch - Person Digging in the Alley (long version)
* Doddie Keeler - Person Digging in the Alley (long version)
* Gill Dennis - Man with Cigar
* Toby Keeler - Man Fighting
* Jack Walsh - Mr. Roundheels (as Raymond Walsh)

==Pre-production==

Lynch calls ''Eraserhead'' his “Philadelphia Story,” emphasizing the fears and anxieties he experienced living in Philadelphia, attending the Pennsylvania Academy of Fine Arts.<ref></ref> While Lynch's experiences in Philadelphia inspired "Eraserhead", contrary to popular belief, the film wasn't shot in Philadelphia, but rather Los Angeles. 

''Eraserhead'' developed from ''Gardenback,'' a script about grant from the American Film Institute, and built most of the sets in the basement of the AFI conservatory.<ref></ref> 

A long-standing embalmed cow fetus. To this day, Lynch refuses to discuss how the baby was really made. 

Although the baby's name is never given, it was nicknamed "Spike" by the cast and crew.

Aside from the AFI grant, the movie was financed by friends and family, including actress Sissy Spacek, who was married to Lynch’s childhood friend Jack Fisk (Fisk appears in ''Eraserhead'' as “The Man in the Planet”). Lynch claims he got a paper route to help finance it. Because of the lack of reliable funds, ''Eraserhead'' was filmed intermittently over the span of six years. Sets were disassembled and reassembled several times. The film was finally completed in 1977, premiering in March of that year.

==Interpretation==

''Eraserhead'' focuses much more on imagery and mood than any kind of coherent fantasy/dream sequences of differing lengths, and the boundary between these sequences and the primary narrative strand is often blurred. Many have interpreted it as a visual-sound experience rather than a narrative or story, a film that is more about conveying a very specific and powerful mood and atmosphere. In an interview on the cleaned and remastered edition of the film (2006), Lynch said he has yet to read an interpretation of the film that is the same as his own. 

As is the case with most unconventional artwork which has no explanation from the artist, there are many who believe the film to be highly over analyzed, and maintain that aside from the small basic script, Lynch filled the film with random and shocking elements simply to create a mood, leaving the difficult task of interpretation to critics and viewers.

With that in mind, a consistent pattern still emerges.  The interpretations from ''DVD Verdict'' present us with, albeit most likely without intent, a buried strand that weaves in and out of all three.  Henry suspects his own life is parasitic to the world (consistent with interpretation #3).  He acts solely from a will to powerlessness: his only aim is neutralizing his self-expression (consistent with #2).  He implicitly re-fuses mutualism and commensalism.  Thereby, his world-view is severed from time (consistent with #1), and causality is experienced singularly as symbiosis.  

Henry only experiences the movement and joining of symbols: a phenomenon systematically expounded by Schopenhauer in The World as Will and Representation.  Lynch's move is to progressively demarcate Henry's biological reality, his survival instinct, out of the film entirely.  Schopenhauer says about such a situation, "it would inevitably pass by us like an empty dream, or a ghostly vision..."<ref>Schopenhauer, Arthur (1818).  The World as Will -- First Aspect.  E.F.J. Payne, ''The World as Will and Representation'' -- Volume 1(p. 99) New York: Dover Publications, Inc.</ref>  Henry works in printing&mdash;his only expression is reproduction and copies: ''impressions''.  Even still, he's on a hiatus from ''that''!  His life is void of living. 

Nietzche--drawing from Schopenhaeur--identifies music as this world's bridge to The Will.  In this vein Nietzsche claims, "Life without music would be a mistake."<ref>[http://www.handprint.com/SC/NIE/GotDamer.html Nietzsche : Twilight of the Idols<!-- Bot generated title -->]</ref>  Eraserhead's soundtrack consists of nothing but cold mechanistic collisions, except the muses from the ''The Lady in the Radiator'' about a place decidedly separate from life.  Lynch completes Henry's character by bonding him with a representation of mere potential energy and non-existence.  Henry completes his transformation into a symbiotic prop.

It has been noted that (consistent with #3) David Lynch's wife was pregnant with their first child when he started making the film, indicating it may be significant to the interpretation of the film.<ref></ref>

==Influence==

* the character of the Log Lady in David Lynch's television series Twin Peaks was originally supposed to be a character in Eraserhead, but the idea was never put into the film, but was resurrected for Twin Peaks.

* As a result of efforts by distributor Ben Barenholtz, the film made its way to many repertory theaters and independent cinemas.<ref></ref> It quickly became a cult classic and a standard at midnight movie showings for the next decade. Like many cult films, it was exceptionally popular on VHS given its limited box office gross.

{{Фильм
|РусНаз      = Голова-ластик
|ОригНаз     = Eraserhead
|Изображение = Eraserhead.jpg
|Жанр        = драма
|Режиссёр    = Дэвид Линч
|Актёры      = Джек Нэнс<br />Шарлотта Стюарт<br />Аллен Джозеф<br />Джинни Бейтс
|imdb_id     = 0074486
|Время       = 89 мин.
|Компания    = Columbia TriStar<br />American Film Institute]<br />Libra Films
|Сценарист   = Дэвид Линч
|Бюджет      = 100 000 $
|Страна      = США
|Год         = 1977}}

'''Голова-ластик''' () — кинофильм Дэвида Линча культовой классикой благодаря сюрреалистической образности, необычному звуковому оформлению и общей фантастической атмосфере. Сам Линч описывал свой фильм как «Сон о тёмных и тревожных вещах».<ref name=сонотемныхвещах>[http://www.lynchnet.com/lh/cinebg.html Фэн-сайт Д.Линча]</ref> В Библиотекой Конгресса США и выбран для хранения в Национальном киноархиве.

== Сюжет ==

Нервный Генри, живущий в промышленном городке, состоящем из дыма, шума и теней, вынужден жениться на своей подруге после того, как она заявляет, что беременна, и в итоге становится отцом маленького, не похожего на человека ребёнка-мутанта. Теперь перед семьёй встаёт проблема с выхаживанием этого чудовища…
Каждый момент фильма продуман и посвоему значим. Дэвид Линч обыгрывает в фильме многие но зачастую незаметные моменты человеческих трипов-замарочек...

== В ролях==
* Джек Нэнс —  ''Генри Спенсер''
* Шарлотта Стюарт —  ''Мари X'' 
* Аллен Джозеф — ''мистер X''
* Джин Бейтс — ''миссис X''
* Джудит Анна Робертс
* Лорел Нир
== Съёмочная группа ==
* Сценарист:    Дэвид Линч
* Режиссёр:     Дэвид Линч
* Продюсер:     Дэвид Линч
* Операторы:
** Герберт Кардуэлл
** Фредерик Элмс