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Reviews
Twin Peaks: Fire Walk with Me (1992)
A Few Things For the Cofused
I just watched FWWM for probably the 10th time, after having just watched the series again, and I realized that each time I come away with a bigger and bigger picture. I have never thought of the Twin Peaks saga as having a conclusive "answer," and I think that's an important basic framework within which to view both the series and the film. The series has obvious inconsistencies, by virtue of its being a television show, and subject to revision and the different styles of all involved. By the same token, the film has its quirks, including Laura Flynn Boyle's replacement by Moira Kelly, and the fact that it was condensed from almost three times the final length.
Regardless, I noticed a few things in this viewing of the film that I hadn't before. When Mrs. Palmer is shown in bed and she sees the horse, I always thought of it as just a weird David Lynch moment that we are not meant to understand. We must remember, though, that she is under the influence of whatever drug Leland gives her to make her sleep while he (under BOB's control) terrorizes Laura. Also, we learn early on in the series that Sarah has frequent visions/hallucinations. The significance of the white horse could be a biblical connection, a sign of a coming apocalypse of sorts (ie, Laura's murder). I find this idea interesting, as it brings in not only ideas of fire, but also the later use of angels.
Laura mentions angels in her response to Donna's question about falling in space. She says that they will not help you as you fall faster and faster, bursting into flames. Near the end, Laura spirals further and further out of control, and in the train car the angel comes to Ronnette's aid, but not to hers. Once in the Black Lodge with Agt. Cooper (the "good Dale" that Annie speaks of), another angel appears, and Laura cries tears of joy, perhaps realizing that she was mistaken, and that in death she had been saved from Bob's clutches. The strange thing, of course, is that this all happens well before the point (in Season 2) where Cooper becomes trapped in the Lodge. Metaphysical places, however, are not necessarily bound by space-time.
Other problems or confusing areas also arose this time around. First of all, in the scene where we witness Bob revealed as Leland, Laura is supposed to be asleep. This is rather hard to believe, as we see her snort three giant lines of cocaine right before this happens. Also, I find it strange that Bobby was never held accountable for the murder he commits (the victim of which is obviously not Mike, as he is alive and well in the series; is it not the sheriff's deputy from the beginning?). This part seems tacked on and out of place, but maybe next time it will make more sense.
These are just some of the things I noticed, and I wanted to share them with anyone who feels frustrated by the movie. It has a very different feel from the series, to be sure, but I don't think it is so detached that it should be dismissed. For Lynch fans, and for fans of the series, there is still much food for thought, and interesting connections to be made.
Jisatsu sâkuru (2001)
Frustratingly Vacuous.
Okay, admittedly I have not seen a lot of Japanese films, and maybe it is just from my Western point of view that I cannot understand a single thing this movie is trying to get across. To me, it seemed full of non sequiturs, and lacking in any sort of unified plot direction and character development.
I came out of this movie almost willing to throw myself in front of a subway. I do not expect every movie to have a standard, linear plot. In fact, I especially enjoy those movies which relate a story in a new fashion, using new techniques and interesting visuals. Maybe I missed the point, but at the end of the movie, not one of the questions has an answer to be found.
Who is really behind the "Club," if it's the random glam rock guy, then why do the suicides continue, who the hell are half of the people that show up in the last half of the movie, what is Dessart's involvement, what is the meaning of the phone calls, etc etc etc.
From my perspective, the filmmakers were going for a sort of Lynchian motif of a puzzle to be placed together by disjointed images and dialogue--which I am completely interested in. The result, however, seems full of holes and hot air. If anyone can tell me why I should like this movie, I'll be happy to watch it again with an open mind.