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Off topic on the current conversation: I watched the show only haphazardly, and haven'ts seen it all yet (but it's on the on-demand list).
Beyond all the themes and music and qualities folks talk about here, what I remember most clearly, even having seen it only once, was the agonizing grief of Laura's mother in the pilot episode. That scene is I think one of the greatest moments in American television history.
Because of his predilection for surrealism and esoterica (not that there's anything wrong with that), Lynch is not well-enough known for this ability to showcase raw or fundamental emotion. I remember a similarly affecting scene in Mulholland Dr. when the heroine finds the body in the bed. And even something as banal as Patrick Stewart bear-hugging Kycle MacLachlan in Dune, and shouting, "You young pup! You young pup!" is a moment of real heartfelt emotion too rare in film.
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Posted: |
Apr 15, 2017 - 9:55 AM
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By: |
OnyaBirri
(Member)
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Well, we are about four episodes into the post-Laura Palmer story, and I now i remember why these are such a slog.
While Lynch did not write or direct every episode of the Laura Palmer story, those episodes demonstrate a consistent Lynchian vibe and aesthetic throughout. It is a unified series.
I feel like Lynch checks out after Laura Palmer. The post-Laura episodes come off as a weird hybrid of Dallas, Dynasty, and an unfunny Cohen Brothers film.
When the show tries to be Lynchian, it is very self-conscious, for example, Special Agent Cooper's flipping of the coin to decide which property he wants to check out. The coin is followed in slow motion. When it lands, even the doughnuts look incorrect.
On the other hand, David Duchovny is great as the cross-dressing FBI agent.
Proceed at your own risk.
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