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David Lynch & Mark Frost
Hollywood CA 2016
The scale of this new Twin Peaks movie is one of its most impressive qualities. This strikes me as the most ambitious project Lynch has realized since DUNE.
It was therefore not as surprising as it once would have been to see
him employing sequences straight out of his earlier masterpiece in the
section that was shown this week. (The camera movement up from the
roiling purple sea to the island castle and into a great slit of a
window echoes the movement of the Atreides Fleet into the Spice Gas Chambers in DUNE’s great Space Folding sequence.) Apparently this new mystical structure is the White Lodge,
which up until now was only spoken of (and it looks like it could be set on Caladan.) Once again, Lynch has the small
army of technicians to make these sort of impossible spaces visible,
but now with far fewer constraints.
David Lynch & Mark Frost
Snoqualmie WA
& Los Angeles CA 2016
The images above come from the Twin Peaks set scenes from last Sunday’s seventh part.
Much of the action and inaction took place there this time. It opens
with an old man lost and bewildered in the wilds and carries on with
pieces from Laura Palmer’s Diary, for which Hawk was sent searching by Margaret during the first part. (Notice the persistence of the red square motif.) Deputy Brennan seems to be letting the young Farmer off pretty lightly considering that the vehicle that ran over a small boy is parked at his place in plain sight. Beverly brings a persistent humming to the attention of Ben Horne (and seems to confirm an intimate attraction between them.) The floor of the Roadhouse gets swept and Bartender and Pimp Renault argues over the price of two young hookers with the representative of an important client. (I can’t help assuming that Red was the one who ordered two.)