![]() Here’s Lynch’s short re-edit of the scene designed to show off Fox Bat Strategy who performed the music. It’s an astonishing highlight, possibly my favourite part of the film, and one of those scenes you either love or hate. That was the Pink Room in which our doomed protagonist Laura Palmer hangs out in the Bang-Bang bar, gets drunk, does things with guys she doesn’t know and completely freaks out. Critics write a ton of shit about the movie.īarry Norman reviewed the film for the BBC and one of his many frustrations was a sequence where the music drowns out the dialogue. For the rest of its duration, Lynch slowly ratchets up the tension until the film can no longer bear the strain and reaches its preordained conclusion. Angelo Badalamenti’s warm, noir-ish opening theme is severed as a television is smashed, plunging the audience into unease. ![]() What stays with me is the experience of being there in the cinema, subject to its menace. ![]() So if you were hoping for answers to some of the mysteries of Twin Peaks, you wouldn’t necessarily find them in its big screen incarnation. Lost Highway, for example, revels in self-contradiction and switches to a different narrative halfway through the film. He’s not being deliberately obtuse, he just wants to make something that’s fascinating to watch that seems to make terrifying sense on some higher level. As a film-maker, Lynch often unpacks imagery from his subconscious and lets the audience try to make sense of it. ![]()
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