Archive for June 2, 2017

Echo Chambers

Posted in FILM, Television with tags , , , , , , on June 2, 2017 by dcairns

“It’s quite difficult to get inside David’s head,” reflected editor Anne V. Coates. “And then, once you do, it’s quite a strange place.” This post looks at recurring images from Lynch’s earlier works which find their way into Twin Peaks: The Return in modified form. Some of these images are, arguably, spoilers.

I’m taking the rushing white lines on the highway and the starscapes as read, and we’ve all noticed how the evolution of the arm mirrors not just the bare sycamore trees of Glastonbury Grove but the various dead twigs sprouting from different rooms in ERASERHEAD…

Funny, around the time of LOST HIGHWAY I felt Lynch was starting to repeat himself too much, but now I welcome the recurrence of each obsession.

Headless Henry in ERASERHEAD; headless Dougie in TP. Swiftly followed by another call-back ~

It’s the planet! Where the guy with the levers lives (or, anyway, works). And there’s a lever in TP too.

I like the hand-made quality of a lot of the sets, like this kind of crappy warped bell.

Something else the new series has which we haven’t see much of since Lynch’s early animated paintings — a quality of cartoonishness in some of the timing, for instance when Cooper falls with a whoosh and CRUMP into this familiar environment ~

Maybe it’s because it’s Kyle McLachlan, but the echoes of DUNE seemed yrev, very strong here. Though in fact DUNE doesn’t really offer a shot to match this. But there is a subterranean balcony overlooking a long, narrow chamber, and there is also a kind of underground sea/water tank.

Then there’s the big purple birth-splooge as Cooper incarnates in Dougie’s place. Directly following the smoke-cloud which billows out to suggest John Merrick’s birth. Lynch said pictures of the so-called “elephant man” reminded him of the eruption of Mount St. Helens — he looked like a cloud of smoke that had solidified.

The haunting image in THE ELEPHANT MAN is accompanied by the sound of a baby’s cries, echoing in some vast cavern.

And then there’s THIS ~

The mist, the halation, and the spectral woman’s face (TP opening titles) ~

Anything else? Oh yes, Laura Dern’s motel carpet vomit in WILD AT HEART and the heap of regurgitated creamed corn Dougie leaves in a house for sale. But I’ll spare you the images if you’ll trust me on the family resemblance.