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Feb. 16th, 2017 12:34 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
proximoceptionFire Walk With Me
If the new show is eighteen hours of this ... that will be something. Twin Peaks may lag behind the best modern series in a few respects, but this lags behind nothing. If anything it trips over itself by being amazing in too many different directions at once. Maybe could have stood to be stretched out to 18 hours in fact.
I'm very curious about that outtake version.
Moira Kelly is a way better Donna than Boyle, and is quite moving in the bender scenes. That's pretty much the heart of the movie, affectively, and it's allowed to go on longer than any other single sequence, so I think we're to understand it's what "saves" Laura. James goes when he should have stopped, the traffic light suggests, but Donna never stopped.
The presentation of Canada as a place of infinite decadence will never stop being hilarious.
Plenty of things tried don't work well, but has any film ever tried to do so much in two hours?
Bizarrest aspect is that the central strand does work, at least on me. I actually care.
What I'm not is frightened - I recall being genuinely frightening is one of the greatest strengths of the film. There's a lot of bits that are trial runs for Mulholland Drive horror moments, esp. the strongest, the bungalow break-in and Winkies. I can admire them but I'm not scared by much of anything lately, other than my own capacity for failure. No idea of that's medication-based or age-based. Or just having seen it several times. But it's not really a film you feel you've seen too often (unlike a lot of the ones you've never even seen before). Maybe I did feel a touch of fear when Stanton looks at the electrical pole (through the wall?). That moment always jostles me in a hard to define way.
What he pushes the Lodge figures into defies analysis, but there's no need to analyze - the forces in charge have gone mad, in Laura's world. Their ways are not ours. The dwarf as Mike's arm ... wtf?
One thing especially laudable is that Laura does not seem to have any kind of change of heart, does no last minute good deed, not counting taking Donna home (which is a couple days before her death). Ronnette prays - or addresses her actual father - and Laura sees her saved, but not Laura. Who nevertheless gets her own angel too. State vs. person: all thieves are either forgiven (by what's best in themselves) or never needed forgiveness, so whether they're pardoned or not must be arbitrary. Crime and Punishment is a good contrast: Dostoevsky drives himself and his reader kind of nuts with his inability to change, rather than alternate, Raskolnikov. He finally just abandons the book to summary, like Kafka with The Castle except publishing his own outlined conclusion as though it were an earned one. Because the world is not a moral machine, nor does it need to be. Laura emotionally blackmails her boyfriend into supporting her cocaine habit, is a prostitute and an accessory to murder, sleeps with married men like Ben Horne (not shown for some reason - nor is Dr. Jacoby), and is mean to a hybrid troll doll / stop motion Rudolph or whatever James is. She also does some nice things, refuses to fully embrace the spirit of malevolence that's moved into her life, and does what she does in the wake of being terrorized and victimized so cannot be to blame. The series set up a harder task for itself - getting us to see Leland the way we can quite easily see her.
How Lynch gets away with that final scene I'll never know. It should not have worked. It works. Could say the same thing about the whole movie, but I wonder if we'd bother if the last images hadn't clicked.
Though the opening sequence is great till the Bowie mindfuck. If he'd shopped that around to the networks maybe they'd have let him do a prequel series.
If the new show is eighteen hours of this ... that will be something. Twin Peaks may lag behind the best modern series in a few respects, but this lags behind nothing. If anything it trips over itself by being amazing in too many different directions at once. Maybe could have stood to be stretched out to 18 hours in fact.
I'm very curious about that outtake version.
Moira Kelly is a way better Donna than Boyle, and is quite moving in the bender scenes. That's pretty much the heart of the movie, affectively, and it's allowed to go on longer than any other single sequence, so I think we're to understand it's what "saves" Laura. James goes when he should have stopped, the traffic light suggests, but Donna never stopped.
The presentation of Canada as a place of infinite decadence will never stop being hilarious.
Plenty of things tried don't work well, but has any film ever tried to do so much in two hours?
Bizarrest aspect is that the central strand does work, at least on me. I actually care.
What I'm not is frightened - I recall being genuinely frightening is one of the greatest strengths of the film. There's a lot of bits that are trial runs for Mulholland Drive horror moments, esp. the strongest, the bungalow break-in and Winkies. I can admire them but I'm not scared by much of anything lately, other than my own capacity for failure. No idea of that's medication-based or age-based. Or just having seen it several times. But it's not really a film you feel you've seen too often (unlike a lot of the ones you've never even seen before). Maybe I did feel a touch of fear when Stanton looks at the electrical pole (through the wall?). That moment always jostles me in a hard to define way.
What he pushes the Lodge figures into defies analysis, but there's no need to analyze - the forces in charge have gone mad, in Laura's world. Their ways are not ours. The dwarf as Mike's arm ... wtf?
One thing especially laudable is that Laura does not seem to have any kind of change of heart, does no last minute good deed, not counting taking Donna home (which is a couple days before her death). Ronnette prays - or addresses her actual father - and Laura sees her saved, but not Laura. Who nevertheless gets her own angel too. State vs. person: all thieves are either forgiven (by what's best in themselves) or never needed forgiveness, so whether they're pardoned or not must be arbitrary. Crime and Punishment is a good contrast: Dostoevsky drives himself and his reader kind of nuts with his inability to change, rather than alternate, Raskolnikov. He finally just abandons the book to summary, like Kafka with The Castle except publishing his own outlined conclusion as though it were an earned one. Because the world is not a moral machine, nor does it need to be. Laura emotionally blackmails her boyfriend into supporting her cocaine habit, is a prostitute and an accessory to murder, sleeps with married men like Ben Horne (not shown for some reason - nor is Dr. Jacoby), and is mean to a hybrid troll doll / stop motion Rudolph or whatever James is. She also does some nice things, refuses to fully embrace the spirit of malevolence that's moved into her life, and does what she does in the wake of being terrorized and victimized so cannot be to blame. The series set up a harder task for itself - getting us to see Leland the way we can quite easily see her.
How Lynch gets away with that final scene I'll never know. It should not have worked. It works. Could say the same thing about the whole movie, but I wonder if we'd bother if the last images hadn't clicked.
Though the opening sequence is great till the Bowie mindfuck. If he'd shopped that around to the networks maybe they'd have let him do a prequel series.
