Sábado, 08 Agosto, 2020

Years After 'Twin Peaks,' The Odd Genius Of David Lynch Remains

039;Blue Velvet' Share on Facebook Pin it 'Blue Velvet | MGM
Eleena Tovar | 20 May, 2017, 06:32

This process produces lots of bad shows, but it also makes a lot of commercial sense. I watched my tiny television until 9:15 p.m. or so, Eastern Standard Time. And then I began to cry, slowly at first and then uncontrollably. The terror and the nostalgia are locked in a mutually dependent, parasitic embrace: The madness of Twin Peaks is fed by the repression and aw-shucks atmosphere of its setting. Whatever insight he imparts, Cooper wakes up convinced he knows who Laura's killer is. The creamed corn 'Coma, ' Episode 202 When Donna (Boyle) takes up Laura's Meals on Wheels route, she meets an old lady (Frances Bay) and her grandson (played by David Lynch's mini-me son, Austin). Oh, sure, I'd been impressed by the touching poignancy of The Elephant Man when I saw it years before, as well as the beauty of the black-and-white presentation. But I missed Dune in theaters and then could only see the chopped-up versions on TV, which were an abomination, and I skipped Blue Velvet and Wild at Heart, which both sounded far too perverse for my taste at the time.

Yet the idea of that perverse filmmaker creating something that could air on network television was delightful! But I think he has more stories", said MacLachlan, quickly adding he's game to do more: "My character's very special. There are eight episodes of plot twists and turns, and several suspects are caught, then cleared. At the end of the second season premiere, she wakes up and experiences a flashback, with the stringy-haired BOB (Frank Silva, a set decorator whom Lynch promoted to cast member) running at the camera and making unclear violent motions and laughing insanely. Everybody - including, supposedly, even the Queen of England - wanted to know "Who killed Laura Palmer?" whose murder is the central mystery of the series. But it's weird: Lynch probably has more flops than hits on his résumé, and his hits are generally modest.

As the season dragged on, my interest waned in favor of personal relationships. Yes, it might have been interesting to see what Ridley Scott or especially Alejandro Jodorowsky would have done with the material- hell, they even made a documentary about the latter- but let's face it, even compromised Lynch is better than most lesser directors. And that was that.

Twin Peaks: Fire Walk With Me was David Lynch's cinematic prequel to the cult 1990s TV series.

Time heals all wounds and eventually I found myself rewatching the episodes from the first season that I'd taped on VHS. Because David Lynch's work is more than just a cinematic pathway into the past. The show entered into my bloodstream. It's not Count Arthur at his best (creator Steve Delaney is on tour at the minute, if you want to glimpse the peaks of comic genius Arthur can reach), but, as I've said before, any Count Arthur is better than none.

Now it's five years since I reluctantly sold the gold box edition so I could pay my rent, and two years since a revival of the show was announced. Or we never watched in the first place and won't start now.

The influence of "Twin Peaks" also stems from its pioneering work as an auteur-driven TV show, even with two imaginations at the helm. I think it's a combination of the minor-chord music, the progression of the theme, maybe the way that the episode depicts grief, and perhaps how the characters know instinctively that something frightful has happened; they don't need to be told, they can sense it from what's happening around them. Granted, I haven't been waiting 25 years personally - I've been waiting maybe three or four - but, someone has been.

Now that I've made it through that first brilliant episode, I can't wait to revisit every single episode, and also to see what Lynch and company have cooked up for the new season. I think that's something that is harder and harder to do these days.

Critical Distance is a column that appears occasionally.