“She’s filled with secrets.”

“If everything else falls apart and I’m broke, in 20 years I’ll still be able to do Twin Peaks conventions.” – Miguel Ferrer, 1990

As Radiator Heaven reminded me this week, has it really been two decades and another century since TWIN PEAKS made its stunning network debut? Being an immense fan of David Lynch, I was intrigued to see how his dark sentimental subversity would translate to the vast wasteland of banal programming. Obviously it translated well, PEYTON PLACE meets BLUE VELVET as Lynch’s populist surrealism fit perfectly within the tube frame. Co-created and written by Mark Frost, who brought his dialogue and narrative gifts to the series, TWIN PEAKS was an unlikely cultural phenom in the Spring of 1990, one of the great years of my life and decade. This seemed like the perfect bellweather for the coming decade after the Reagan hum of the neon ’80’s. And this was the only television show that I would stay home for on a Saturday night. And I did, consecutively for its groundbreaking first season run.

David Lynch directed the two hour premiere, still perhaps the most audacious film ever created for home viewing. I was hooked instantly by Angelo Badalementi’s lush, twangy, achingly beautiful music and the small-town tapestry that Lynch and Frost had weaved for the show’s eclectic cast of characters. The ostensible plot revolved around the brutal mysterious murder of high school sweetheart Laura Palmer (“Wrapped in plastic”) and its effect on the unique Northwestern populace. One of the strengths of the series is that it never let you forget that Laura’s death was an ongoing tragedy and would not be sated by time — the moment when Laura’s mother (Grace Zabriskie) screams into the phone when learning of her daughter’s fate is one of the most indelible, disturbing things I’ve ever seen (I get chills just writing about it). The premiere had numerous Lynchian touches such as Bobby Briggs and friend behind bars as they scowl and bark at good bad boy James Hurley and the mythical Log Lady whose name tells you all. Then there’s that stop light…and Who Killed Laura Palmer?

Of course, that’s only the beginning of the show’s strange journey as Agent Dale Cooper arrives on the scene in black suit and thoughtful attitude; Kyle MacLachlan’s charismatic performance is the glue that sealed the show, and his introduction, dictating his thoughts to the unseen “Diane” as he waxes on the trees and his accomodations, lets you know immediately that Cooper is our hero. He’s a great lead, with his no-nonsense approach and humanistic tendencies such as the pleasure of a damn fine cup of Joe and his concern for the Tibetan people. Balancing his exotic big-city ways is Sheriff Harry Truman, played with strength and warmth by Michael Ontkean, who probably doesn’t get the credit he should as Cooper’s loyal legal companion. The entire ensemble cast is fantastic and each character inspired a cult of his/her own. If forced to choose, I’d pick Cooper and the wicked Benjamin Horne, played with staggering gusto by Richard Beymer, a long way from his humble roots in WEST SIDE STORY (1963). I also dig Colonel Briggs (Don Davis), the sensible spiritual military man trying to reach out to his troubled son, Bobby. But everybody had their moments, and Piper Laurie more than matched Ben Horn for willful duplicity. It was great to see Jack Nance (ERASERHEAD) as her ineffectual husband along with Russ Tamblyn as the oddball shrink who took care of Laura. And yes, TWIN PEAKS was also a very erotic show, Lynch’s sexual themes running alongside the humor and darkness. The siren sextet of Sherilyn Fenn, Lara Flynn Boyle, Sheryl Lee, Madchen Amick, Joan Chen and Peggy Lipton stirred up the hormones as well as the mystery. I love it when Cooper spots Josie Packard (Chen) and asks Truman, “Who’s the babe?”

There’s so many cool things about TWIN PEAKS that it’s impossible to list them all here, suffice to say I became a devoted viewer, eschewing dates or parties for my weekly Saturday night ritual that usually left me frightened by the end of the episode, particularly the reveal of the show’s supernatural villain, “Bob.” I drove around town in my 1964 Cadillac, blasting Badalementi’s best-selling soundtrack and while I never became the kind of fan who would go to conventions, I felt the series was embedded in my esthetic DNA. The mere fact that David Lynch was able to transmute his weird vision into America gave me hope for the decade. The guest directors always surpassed my expectations, especially the Tim Hunter episodes. The show definitely “jumped the shark” in the erratic second season, but there was still brilliance to be witnessed. When I had the pleasure of interviewing Lynch ten years later upon the release of MULHOLLAND DRIVE, I cautiously limited my TWIN PEAKS questions but he didn’t skip a beat, reflecting in his wonderful mid-western twang:

Were you happy with the way Twin Peaks ended?

Oh, it could have gone on forever. The problem was we never meant to follow the murder for a long time. The Black Dahlia has never been solved… these things keep pulling you, and you keep thinking about them and it’s beautiful. So once it’s solved, it really kills the magnet. It’s terrible. We were put under so much pressure by ABC and people in general to solve that, that we killed the goose that laid the golden egg.

I think the little man dancing in Twin Peaks is the weirdest moment in TV history.

I remember where I was when I got that idea. I was at CFI on Seward Street, and we were cutting the pilot for Twin Peaks; I don’t know what time of year it was. We left the cutting room and it might have been summer, it was still light, and I was leaning up against the car talking to Duwayne Dunham who’s the editor… and the car, the metal was warm, my elbows were on the roof, and it was not too warm to be uncomfortable, and Bango! Here it comes.

And yes, Michael Anderson’s “Dance Of The Dream Man” is still the weirdest moment to ever appear on the American home screen. I recall watching it, feeling that blissed-out dream state that only David Lynch could pull off. But below is the scene where I fell in love with TWIN PEAKS, not just because of Miguel Ferrer’s famous introduction as Albert Rosenfield, but the great moment between Dale Cooper and Harry Truman at 0:58-1:06. The sweet decency of the characters combined with the world’s grim darkness made for the most subversive, brilliant television show of the 20th century.

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52 Responses to ““She’s filled with secrets.””

  1. Great post for this celebratory week, Christian. A fine selection and moment from TWIN PEAKS, as well. I’ve always found that particular image of Laura Palmer in the plastic sheet to be singularly haunting. Good inclusion of those questions to DL, too. Thanks for this.

    • christian Says:

      Thank you! Yes, that image of Laura Palmer is the defining one from the series and pure Lynchian dark poetry.

  2. Fucking love Albert.

    You know, Season 2 takes a lot of knocks, and yeah it had some problems but it also had some great great stuff.

    That was the last time there was a real “event show” for me. Everything else that’s been on I’ve compared to how Twin Peaks captivated me and nothing holds up.

    Keep Lost. Twin Peaks rules.

    “Diane, I’m holding in my hand a small box of chocolate bunnies.”

    • christian Says:

      I loved Albert too but I have to say i HATED his whole Buddhist “I love you” moment. It really made no sense given that Albert actually almost did get into fisticuffs with Truman earlier.

      But there are lotsa great things in the second season, and I really like all the stuff with Cooper and crew infilitrating One Eyed Jacks. Again, they changed the personalites of too many of the characters, such as making Lara Flynn Boyle a sexy siren type.

      But TV has been dead to me since.

  3. kudos C on this most excellent TP anniversary post!

    ‘twin peaks’ is legend, a true work of tv-series genius the likes of which we may never see again. it had its ups and downs but for me personally, the image of bob lurking at the end of laura palmer’s bed is indelible in my mind and one of the creepiest moments in tv history. i’m still amazed that such an off-beat, unique and rather horrifying murder mystery series should become a mainstream hit beyond the usual ‘cult’ tag reserved for such fare.

    agent cooper’s advice to “everyday give yourself a present” — in his case usually that damn good cup of coffee — is something i took to heart and do for myself to this day, even if it’s just something really small. dale cooper was a well-spring of bonza one-liners and speaking from the female perspective, kyle was rather dreamy in all his oddball fed glory.

    (and just on a personal note, peggy lipton is a dead ringer for my mum, which made watching norma’s character arc weird and close-to-home)

    • christian Says:

      Yes, that image of Bob is totally scary and I’ll never forget watching it in my dark room. I also love the grainy super-8 style footage of Bob.

      I think the show’s success proves you need not underestimate audiences as is the rule in most television.

      And yep, Cooper’s advice is part of my own philosophy now. Perhaps too much. But hey, it’s coffee time.

      And if your mom is a dead ringer for Peggy Lipton — BONZA!

  4. happy birthday !

    i remember when twin peaks came out. i was still at school, here, it was aired every friday, after the main program (around 10 pm). some of us were not allowed to watch tv late at night, including me. my father used to tape every show so that we could watch it on saturday, but there was like, the friday, where EVERYBODY in school who was allowed to stay up late, was spoiling the episodes. it was a major feat not to hear anything, because everyone was obsessing on laura palmer. it was deafening : like, she was one of us, at school, and she died in our school and we all had to deal with it. this show was the most pervasive experience of my life… for almost a week, because i was abroad, i didn’t know who killed laura. i was sure it was the owl. the revelation of the killer was a terrible moment, because it stroke exactly where it had to : in the heart of every family.

    the second season was harder to identify with – more abstract for kids, more new-agy in a way. years later, when i got to see the entire run, the second season was a re-discovery for me, as a conspiracy buff. it is way more mature and sleazy.

    oh, man, how i wish mulholland drive had been a tv show and not a bad mash up kind of movie (sorry if i offend anyone, but i hate this movie so much – except for the beginning, with the undergound producer chamber)

    thanx xian !

    • christian Says:

      That’s cool to hear the foreign side of the TP phenom. I had a few friends who were into it but I was the one at home Saturday to viddy. I too obsessed over the characters, and it’s one of the very few times where I really loved a cast so much I wanted to live in Twin Peaks, light and darkness and all. I mean, look at the babes!

      And I agree about MULHOLLAND DRIVE. I love moments but it never comes together for me and the critical over-reaction to it mystifies me.

  5. I’m still waiting for the Gold Box to go down in price. Times is tight in Lumberton.

    You got to interview Lynch? You lucky bastard!

    Now how about a piece on FIRE: WALK WITH ME? Do you agree with the growing consensus that it’s underrated? Ever read David Foster Wallace’s excellent essay on it?

    Re: MULHOLLAND: I think it contains some of the best sequences of Lynch’s career, and it’s all the more amazing that it rose from the ashes of a failed pilot. The ending is devastating and terrifying — dying alone, deranged and consumed by guilt…the word “nightmarish” gets thrown around, but few artists can actually make it palpable like Lynch does.

    But I do agree that a few of the plot strands are obviously leftovers from the series-to-be, and could have been cut. I also suspect that the lesbian stuff was a significant part of the appeal for many male critics. (Though at the same time, that relationship felt real to me and not gratuitous. Pulling off a sad masturbation scene can’t be easy.)

    Lynch’s earlier work was, without a doubt, more streamlined and focused. DUNE introduced him to the concept of huge casts, and after that it was like he was unable to resist shoehorning in roles for his favorite actors, even if it made for overstuffed, unwieldy films. LOST HIGHWAY is particularly guilty of this, though I’ve come to love it for what it is, gratuitous Crispin Glover and all.

    Leah — does this mean that you also look like Peggy Lipton? Ah, the ever-mysterious Leah. All these years and we still know so little about you. Tell you what — I’ll show you mine if you show me yours.

    Face, that is. Unless you prefer to remain a shadow.

    • christian Says:

      I am very ambivalent about FIRE WALK WITH ME. I told David Lynch I thought it was the show from a different angle, which it was. It’s certainly one of the most experimental films of his career. I just felt it didn’t have any connection to the series since 80 percent of the regular cast scenes had been excised. What was missing from the film was Twin Peaks. The growing consensus is prone to overstatement. There are always startling, memorable scenes from his films and I expect little narrative structure in a Lynch film. But again, the overwrought essays on the meaning of MULLHOLLAND DRIVE were more perplexing than the film. I just stopped accepting it as a story halfway through.

      I love Robert Blake in LOST HIGHWAY, creepier upon reflection. Lynch is one of the few directors whose work is genuinely scary and unsettling.

      But I think THE STRAIGHT STORY is his most experimental studio movie. A G-Rated Walt Disney David Lynch film…

    • ha, you make me sound like ‘the lone ranger’, FB (no i don’t look a lot like my mum, more like my dad. but i am toe headed)

      (maybe i’ll think about it – ‘my face’ i mean, as you so delicately brought it up. to be honest the thought of revealing my real-life self to people on-line freaks me out. it think i’m a bit of a hick. probably comes with living at the bottom of the word. and truth be told, i’m quite paranoid. i like the anonymity of cyberword, and i gotta be a bit careful about what i say when i blab, not that anybody’s monitoring me, but…hey did i mention i’m paranoid? anyway, sorry for babblin’. i’m probably being ridiculous, it wouldn’t be the first time)

      anywhoo re: lynch, he’s a creepy fucker. i love him. even when he doesn’t totally nail it he’s more inventive and off-kilter and adventurous and has more style than 99% of directors around. and he’s perhaps one of the best working ‘horror’ directors even if his sensibility is more multi-faceted so that his sheer ability to capture and infuse the eerie, creepy and macabre is sometimes overlooked within the genre (or maybe it isn’t and i’m just out of the loop). a real auteur. he does perhaps seem to be reaching the ‘twilight’ portion of his festivities but i would never count lynch out, he could yet have all manner of weird and wonderful classic lynchian madness in his head to bust out on us. i hope so

      • christian Says:

        Now that I’m officially revisiting TWIN PEAKS episode by episode, it’s great to be reminded of all those amazing images and scenes the show created. And there’s so much unsettling stuff.

  6. I re-viewed LOST HIGHWAY recently and liked it much better than I did initially. MD cast it in a new light, revealing the logic behind the seemingly nonsensical story. Both films are about guilt, denial and fugue states. MD is actually easier to understand because of the dual-role casting, but the aforementioned plot-threads invited heaps of wankery from those determined to tie in every last little non-sequitur.

    F:WWM is a magnifying glass focussing on one corner of the TP universe: Laura’s personal trip to hell. Sheryl Lee’s performance can’t be praised enough, in my opinion.

    HOTEL ROOM is the only thing he’s done that I found completely flat, but I’d be willing to give it another try.

    • christian Says:

      HOTEL ROOM I’ve barely seen, as well as ON THE AIR, his other show that was taken off after three episodes.

      I guess I miss Lara Flynn Boyle so the impact of FWWM is diluted. Cheryl Lee is a trooper bit as far as the series goes, how did Ray Wise not get an Emmy? His performance is the best of the series.

  7. “Welcome to amateur hour.” I love that clip of Albert. Yeah, Miguel Ferrer is always awesome to watch and he brought so much to that character.

    You write:

    “One of the strengths of the series is that it never let you forget that Laura’s death was an ongoing tragedy and would not be sated by time — the moment when Laura’s mother (Grace Zabriskie) screams into the phone when learning of her daughter’s fate is one of the most indelible, disturbing things I’ve ever seen (I get chills just writing about it).”

    Agreed. The other image that gets me every time – in the chills dept. – is that shot of the girl running screaming past the window of the classroom that James, Donna and Audrey are in. It’s brief but so unsettling. Great stuff.

    Excellent tribute to the show! I couldn’t agree more about its merits and how it holds up after all these years.

    In regards to FWWM, yes, it is a very different animal than the show but I think that was the whole point. The intent of the film was to show Laura’s final dark days and Lynch does not hold back. The film is bleak and ominous but also very brilliant. I also enjoyed the first third with Lynch’s trademark quirky sense of humor. I would’ve loved to have seen a spin-off film with those two FBI agents.

    • christian Says:

      Yes, the running screaming girl is disturbing as is the principal breaking down after his announcement. And Wise’s transformation is always weird and awkward and real.

      TWIN PEAKS ushered in the Age Of Quirk so that you can forget how innovative it was. Shows like NORTHWESTERN EXPOSURE the NPR version of TP, and Oliver Stones WILD PALMS and others flooded in its wake. Clearly X-FILES would barely exist without it. And by the end of the 90’s, quirkiness would be the new cool. But not anymore.

  8. THE STRAIGHT STORY is one of David Lynch’s best movies for me, I was shocked by how much it remained a Lynch movie – and the final moment is perfect.

    Certain Lynch leaves me cold, and the FIRE WALK WITH ME is one of them, its one of those pictures I watched several times trying to will myself to like, and just couldn’t make the leap. Palmer’s murder, and some of the material around her, was devastating, but a lot of felt…well, like outtakes from better Lynch movies.

    Twin Peaks, the show, is just beautiful.

    I will say this, TV HAS had some moments since then. Among other things(and Craig and I have talked about this) pop culture (or the critics) were right about HBO’s DEADWOOD.

    • christian Says:

      Agree with you about FWWM. I just find it too fragmented and maybe too disturbing. There are amazing images as always and a cool soundtrack of course, but the stuff with the other agents I just find meh. I liked Bowie though.

  9. i really loved fire walk with me, especially the first part. i m always amazed how lynch manage to split his movies : he ‘s probably trying to hard to be rational in the first part, then goes bonkers once he s got his foot in the viewer’s heart.

    anybody here got the chance to see INLAND EMPIRE ? i don t know if it got released in theatres in the us, but here it was a huge hit. i always were very ambivalent about mulholland drive, and especially the ending, which i feel is contrived and way too self explanatory (yes, the mystery is really easy to solve if you ve done any video game in your life – or read chesterton). now, if you like mysteries, deep, opacious, weird esoterical maze, inland empire is the real deal. this movie is as crazy as it goes, and it s probably the most over the edge stuff lynch has ever done. entirely shot with DV, largely improvised, it still manages to get some sense. as usually, the first part is “rational”, with some of the most mind-blowing discourse on acting and directing, then it goes down in surreal hell (sometimes verging on the plain boring). the end is absolutly fabulous, without any of the hokey-pokey of mulholland (imho). the end credits are still with me, years after viewing the movie. during the movie, i suffered, i wanted out, it was too much. and then i understood : everything leads to this ending.

    • christian Says:

      Still haven’t seen IM but I will as it’s the only Lynch film I haven’t seen. And it’s not even a film. So I wont be watching that credits scene just yet…

    • Dave: I just started watching this on Netflix, got an hour and a half in and had to take a breather. But you’ve inspired me to sit through the rest now. Does seem a little slow-going, but it’s David Lynch so I’ll hang in there. Have already committed to memory that great line from Grace Zabriskie, accent and all: “Brutal fucking murder!”

      Christian: Thanks for the great post. In honor of its anniversary, I’ve lent my best friend (who has never seen TP) my cherished Gold Box so she’ll understand why I rant and rave about it being the best show of all time.

      • christian Says:

        Hell, when your friend is done with the box set, pass it my way;]

        I still don’t understand the Gold Box color scheme though….shoulda come in a wood box.

      • aye, i almost left around that time. almost. because i don’t usually don t leave movie theatres. good luck though lol

  10. I respected INLAND EMPIRE more than I actively liked it, and, yes, it is boring at times, but, yes, Dave, it goes as far I think you think it goes. I think you have a point about MD, but I loved it. But, I think Lynch is better when he’s at least partially tied to some sort of traditional narrative – that gives him contrast to bounce his personality off of.

  11. “I think Lynch is better when he’s at least partially tied to some sort of traditional narrative…”

    I agree. Even ERASERHEAD has a story — a fairly linear one at that.

    I only saw IE once, when it was released, and walked away with mixed feelings. It’s going to take some time and additional viewings to sort through my feelings on this one. I suspect it might be the rare Lynch work that plays better on the small screen.

    • christian Says:

      I think TWIN PEAKS was served well by the limitations of what you could do or show on the tube. It got away with a lot, but the subtley worked in its benefit. But I remember watching Agent Cooper’s dream and I thought, now this is something special I’m watching, something absolutely unique in the annals of television. Lynch’s pure artistic psyche unleashed by ABC network — right before a commercial.

      • constraints work perfectly with dreamlike concepts. how to “frame” the non-linear inside traditionnal medias. the tropes of tv shows were a perfect perimeter for lynch to express something so special that, in itself, free of boundaries, it would have been just experimentation. maybe that s why i m so bummed out by MD : being a movie, and not a tv show, we loose restraining boundaries – because movies have learnt to adapt and morph into experimental territory. the prisoner, wild palms, even profit i guess, were maxed out by that contrariety.

  12. i totally agree on the fact that a traditionnal narrative is good for lynch, chuck. in a way, like you, i kind of more respect the movie than like it. i guess it s very hard to apply concepts like “love”, or “like” to these kind of experiments. the long, terrible laura dern monologue, is more physical torture than sensual bliss. but, and i give this “but” a huge caveat, this movie deserves a special place, as it is one of the few first 21st century narratives, ie, devoid of logical / rationnal progression (albeit not logical plot or undertones), trying to free itself from what we think storytelling is. if the movie works better on TV, on which i agree too, it s because it attempts something bold and new. for me, the actual citizen kane of this kind of quantum narrative is the extraordinary “atrocity exhibition”, adapted from ballard by jonathan weiss. atrocity managed not to be boring. lynch may be too interested in contemporary art to get rid of scorn, irony and intellectualism.

  13. according to laura herring, originally planned as a serial the lynch is keen on a MD sequel, which is supposedly in development (dave will be thrilled!). if so, i for one can’t wait.

    (i need to see ‘inland empire’ when i’m straight, it messes with my head. there’s a small, niggling part of me that stubbornly clings to the notion that all lynch’s work has some traditional narrative structure and i’m just too much of a thickie to figure it out and follow it properly, and i’ll just keep trying until it drives me bonkers)

    • now that is interesting : the way we want lynch to cling to traditional narratives, and the fact that, somewhere deep, we want lynch is a master crypto-cinematographer and not just some abstract artist. i remember, when i saw lost highway, how much i wanted to make sense of that scene where the busey-couple loose their son in that terrible night they will later try to explain. something happened, something big, something with lights that did something to their son. it was harrowing : aliens ? reality shattering ? i wanted to know, i wanted something to explain. i still want. but the voice inside me says : maybe you shouldn’t.

      • christian Says:

        It was really with LOST HIGHWAY that I realized Lynch had abandoned a certain narrative within his films. And with MULLHOLLAND DRIVE, that was more than obvious. I didn’t want to expend energy thinking “what does it mean” as it only means something to Lynch I believe. Not one single essay on the “meaning” of MD added to its viewing depth for me as the meaning was only there to the person overextrapolating.

  14. LOST HIGHWAY POWER.

    Lynch’s best. Yes, even better than BV or MD or EM. Awesome music, awesome LA/Valley atmosphere, LOGGIA, tons of nudity, METAL, Marilyn Manson, BALTHAZAR GETTY, RICHARD PRYOR, ROLLINS, BUSEY, RIBISI, single BEST SOUNDTRACK IN THE HISTORY OF FILM….

    Too many people think of it as the warmup for Mulholland.

    I think it’s better. Because it’s more bombastic and hardcore and intense and sinister and colorful and crazy. Mulholland is like the respectable upscale (but still awesome) complement to Lost Highway’s jagged, stop-and-start freakshow nightmare.

    HIGHWAY POWER.

    • With all due respect, Getty is the worst part of LOST HIGHWAY – totally out of his depth and just a crappy actor ta boot. That being said, I do love the film for all the other reasons you stated, esp. the slow burn of the first third of the film with Bill Pullman walking down the darkened corridors of his house a la Henry and his apt. in ERASERHEAD. Plus, you got the ultra-creepy Robert Blake in freaky Kabuki make-up… I also think its one of my fave Lynch soundtracks with the likes of Barry Adamson, NIN, et al.

      • christian Says:

        I’ve forgotten he was in it. Who he?

        Blake is unforgettable and I was hoping he was on his way to a career renaissance instead…of all this.

        And Richard Pryor’s scene is tough to watch.

        • Well, Getty is on that crappy drama with Sally Field, I believe. He also did guest spots on CHARMED. Impressive resume, eh?

          Blake was amazing in the film and you’re right about Pryor. Also tough to see Jack Nance’s cameo too as he died shortly after this film was made.

  15. The STROBE LIGHT scene in Fire Walk With Me is what it’s all about; Awesome music and you can NEVER have enough STROBE… especially loved that it was subtitled. Such an awesome Lynchian move.

    Only thing is, Sheryl Lee looked about 38 years old as a “high school senior.” Not the hugest deal in the TV series (where she was mostly a corpse), but front and center in the movie, it seemed just slightly less shocking, since she and Ray Wise looked more or less the same age.

  16. I can’t ever tell whether Lex is pulling the internet’s leg or not, but he has inspired me to look at LOST HIGHWAY again.

  17. “LOST HIGHWAY is particularly guilty of this, though I’ve come to love it for what it is, gratuitous Crispin Glover and all.”

    This correction is days late and I doubt anyone cares anymore, but I obviously (I hope) meant WILD AT HEART. That was a real everything-including-the-kitchen-sink movie.

  18. i care. actually i did catch that first time out (honest), but i know better than to lecture FRANKBOOTH on his lynch boo-boo, really. boo-boos happen

    lost highway is lynch’s sleaziest (and one of his creepiest), while ‘wild at heart’ is his sex-and-violenciest pulp magnum opus. i know some people hate it but it’s so hard not to give into its absurdly hard-out, weirdly earnest, ott, garish and almost shakespearean (over)dramatism, with its (bloody) heart dangling out on it’s sleeve for all the world to see — as opposed to most lynch, which is so vague and mysterious and ‘reality-is-tissue thin’-esque that i think i get like half of it but don’t really care. WAH is the strange case of the lynchian anti-lynch

    (i miss the old nic cage – in fact, the young nic cage i guess – his hair FREAKS ME OUT now, officially on the list of creepy shit that gives me the jeebies. i know that sounds shallow but it ‘s more a ‘i’m scared of clowns’ type observation that disliking his hair from a ‘hey good-lookin what happened to your hair?’ standpoint, seriously strange)

    • I’ve always felt that WILD AT HEART is Lynch’s most romantic film and one that I love dearly if only for Cage in one of his most inspired unhinged performances (its worth watching for his dancing scenes alone) and Laura Dern at her most uninhibited (wow!). Plus, you’ve got a bizarro Crispin Glover (is there any other kind?) making his LUNCH! And perhaps my fave Jack Nance cameo as Boozy Spool (“My dog barks some!”) in a Lynch film. I agree with Lynch that it’s the film Elvis should’ve made!

      • i agree, JD, sailor and lula’s love story is so sweet and earnest and passionate, you gotta root for those crazy kids to make it

      • christian Says:

        I love half of WILD AT HEART and don’t care for the other half. Dern and Cage are great, their sex scenes are Lynch at his most wicked and Glover is bizarro. Dafoe’s scene with Dern in the hotel room is amazing too.

    • replying to myself, ‘fire walk with me’ might actually be lynch’s sleaziest work, come to think of it

  19. i thought i should clarify that by ‘don’t really care’ i mean i’m not bothered that at times i can’t quite connect all the lynch dots (of course i’m not supposed to, lynch’s art is nothing if not designed to elicit debate/open to interpretation) but it’s how he compels me to delve into the subconscious and look for threads of meaning and truth in his visions that fascinates me (and makes him deliciously frustrating)

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