"Listen to the sound" "LISTEN TO THE SOUNDS"
" Listen to the sound. " After we heard this line, Dale Cooper looked at the sound, and the camera that was still aimed at the phonograph at first realized it, and moved forward. At this time, the huge horn of the phonograph was like a black hole, with bottomless darkness inside. Yes, not only to listen to the sound, but also to "see" the sound, this is the meaning of Fireman's prompt. Using this sentence to start the return of "Twin Peaks" is not only a clue to Cooper, but also a reminder to our audience.
The opening scene of Cooper and Fireman has been controversial since the series began. There have been a lot of speculation and discussion about its location, timeline, and meaning to Cooper. Of course, one cannot expect a standard answer. My personal guess is not important here, but after reading some articles, I can come to this conclusion for the time being: no matter whether the scene takes place in the eighteenth episode in the timeline of the episode, it is Cooper. Before or after stepping on the dark road without hesitation, Fireman's clues are more important to the audience than to Cooper.
Weather forecaster WEATHER REPORT
Although we all understand that "Twin Peaks" is not all about its storyline, but the various sensory experiences about it: fantastic town atmosphere, excellent music, charming and weird actors, etc., Maybe it shouldn't be literal for now, so I still start with narrative. First of all, we need to point out some abnormalities. In the comeback season, including the first scene of Fireman and Cooper, there are always a lot of plots as follows-clues are revealed by the characters, the camera is watching quietly, and sometimes the reaction of others is filmed. , In short, a long explanation. At this time, people will wonder: Is this still the familiar "audiovisual artist" Lynch? Why suddenly uncharacteristically began to explain various elements, is this a kind of inertia or a departure from the language of the film?
But the point is that the author honestly tells us what should be known. In the face of this sequel, we must also understand that in 2017, "Twin Peaks" has become an oversaturated secret box. After a long period of catalysis since its premiere in 1990, fans are aware of every element in the play. Madly fascinated, all kinds of texts, criticisms, theories and speculations have piled up in the past ten years. Therefore, for their own survival, Lynch and Frost must share something with the audience from time to time in this return season. This is a necessity for them to maintain their vitality and an opportunity to obtain an equal relationship with the audience. More important Therefore, he came to liberate himself from secrets and generate more secrets-to become the "goose that lays golden eggs" in Lynch's ideals. The prerequisite for urging Lynch’s audiovisual magic is curiosity, and this is the role played by all the “cues” and “clues”. These clues are clear enough guide lights, and they are not exaggerated enough to offset all. The mystery of the novel, but appropriately standing at the balance point between the linear narrative and the fragmentation. At this time, our curiosity is endless: we are not only armed with clues, but also have space for imagination.
The expressions in "Double Peaks" are somewhere between pure information transmission and mysterious whispers. It's better to use a Lynch-like hobby to make a comparison-weather forecasting. In the years since the era of "Inland Empire", and in the recent period of the new crown epidemic, Lynch began to publish daily updates on his paid website (this website no longer exists, now it is YouTube). Report: Lynch used his signature accent to report on the weather in Los Angeles that day under the same camera position every day. Behind his workbench was a window just outside the lens, and it was also a window for Lynch to observe the weather, so he turned to the window to observe the colors of the clouds and sky. We can’t see the concrete scene outside the window, but Lynch’s recounting makes us believe: the clear sky makes him happy, and his words become full of ecstasy (" beautiful-li-de-blue-sky! "), and even During rainy periods, you can also hear the desire for sunshine in his tone.
For example, in Godard's words: "Movies make memories, TV makes oblivions." This is not just information transmission, this is cinema. "Twin Peaks" also has his own weather forecaster: in the first episode of the second season, the mysterious astronomical observer Major Garland tells his rebellious son Bobby about his dreams, in which his son becomes in the future. A happy person. This may be one of the most memorable moments in the second season, and we just sat in the simple cubicle of the RR restaurant and looked at the two different styles with a simple sub-camera, completely unlike the father and son. The actor recounted the story. Don Davis played the major with a calm tone. Even when describing such a spectacle, he was a serious soldier, but his tone was not like making a rigid report, but sincerely sharing; while the one who played Bobby Dana Ashbrook still retains his epic exaggerated expression, such as his hilarious roar in the premiere—unlike Davis on the opposite side, this is not an actor who can hide emotions in his heart. , All his touches and shocks are written on his face.
Doesn't the storyline in "Double Peaks" come from the spirit of weather forecasting? It talks and shares lovingly, leaving the rest to our imagination. And those we shouldn't know, we will never know (" Frank, you never want to know what it is " " Let's not mention Judy "). Although this sounds not so "visual", but because of this, when we really receive those sudden image moments, the emotional energy is amplified to the strongest: if the explosive experimental images in Episode 8 are just a series of It does not control the emotional power it has now; if the Mitchum brothers don’t sneak a discussion about the cherry pie in that box, the great moment belonging to "Dodge Jones" will not It's so enjoyable; back to the beginning, if Fireman hadn't given Cooper these seemingly random hints, then we wouldn't be so upset when we saw the last episode. Twenty-five years later, the major’s prediction came true. Bobby, who has become a police officer, cried and blushed at the classic portrait of Laura (Episode 4), evoking all the memories of "The Twin Peaks"-this is also An Zhe The theme music of Laura Palmer by Luo Badalamanti played for the first time in the return season. Pay attention to the sound (and silence). The gorgeous returning FBI agent Cooper said to the suspicious Sergeant Frank Truman (Robert Foster) in the seventeenth episode: "The major told me that (the key to Room 315 of the Northern Hotel) will be at the Truman police officer. Long hands. " The actor Davis died in 2008. His return this season is also weird. The corpse is separated but invisibly existed. There is no material in the play to support his prophecies; however, when Cooper was right When the sheriff said this, it was true. We trusted him unconditionally, the great forecaster.
FILM SCHOOL
It has been three years since "Twin Peaks" returned to the screen, and it has been three years since I entered the film school. To me, it is the 21st century film school, an 18-hour treasure. It’s not just the experimental, ghostly, and so-called “Lynchist” moments (intentionally imitating those moments that have been tried and tested, but proved to be harmful), but to teach us when to shoot and what to show/not What to show is also a master class about rhythm; it teaches you how to use time, how to arouse curiosity (the secret of "2"), and how to use the three simplest scenes of film (in other words, what is pros and cons) ?), teach you how to create the energy of sound, the energy of emotion, the energy of music, how to live in the present and take into account the past and the future at the same time... At the same time, it is also a masterpiece of comedy.
TV or movies TV OR CINEMA
" When we chose to rank the two TV series in the top ten of our top ten of the decade, what we did was to distinguish the words that still speak the movie (knowledge of scene management, editing, camera, realism, performance, etc.) Etc...) The relationship between the films and drama series, and another batch of films and televisions, those narrative programs that only provide viewers and users with'content','universe' and'information'. "(Stephen Drollm, "Cinema Manual" Issue 761)
Train TRAIN
Somewhere in the second episode, at night, a stationary camera depicts a scene of a train crossing a road. The train reminds us of the origin of the movie, of Lumière, of suspense. The moment the pole was lowered, suspense was generated, and we waited for the train to arrive. Soon the sound of the train came from outside the painting. We looked forward to it. The sound became louder and louder. Then the train passed by, and the suspense was lifted. But what's next? For those of us who have just begun to enter the series, we are waiting for Cooper, or Audrey Horn, Shirley Johnson, Sheriff Truman, and all those familiar faces and locations. We look forward to this. A train can bring them to the screen. Perhaps I over-interpreted it, but this mirror seems to have silently revealed the true meaning behind all these waiting.
Empty House EMPTY HOUSE
According to an interview with Lynch in the "Cinema Manual" at the end of 2017, Las Vegas was Mark Frost’s idea. He envisioned that Dell Cooper would suddenly appear in this casino 25 years after the original series. In an unrenovated empty house (this idea finally appeared in the third episode), due to the outbreak of the subprime mortgage crisis, many "empty city" real estate appeared in this flat desert city-a weird and ironic scene , The appearance of Dodge Jones added a sense of humor. Why is it? This seems random, but it's also fate. If "Two Peaks" in 1990 is due to Lynch and Frost's interest in the mysterious female tragedy of Marilyn Monroe, then Frost's new idea is once again enough to match Lynch's The frequency phase resonates. The idea of an empty house is also enough to have the spatial imagination of the film, and it is also curious enough, just like the New York glass box like Francis Bacon's paintings in the first episode, it is obviously like Lynch’s product: two seemingly empty The space, like two white drawing boards, waits for the paintbrush to fall. It is this rare resonance of inspiration that gave birth to the return of "Twin Peaks", and as a series that was the product of the cooperation between the two from the beginning, this tacit understanding is even more necessary. So in the 2010s, where did "Double Peaks" fit the two authors?
Anti-nostalgic ANTI-NOSTALGIA
As many viewers realized in the first two episodes of the return season, this new "Double Peaks" does not seem to seek to concentrate the "story" on the town of Shuangfeng, nor is it eager to introduce those familiar to the audience. Characters, therefore, are regarded by some commentators as random works created in the name of "Double Peaks". But just like the 25-year "winter break" in this series, after such a long period of stagnation, this return season is also about the return itself. Some people say that the return season is a resistance to nostalgic remakes, but we may not have to rise to the level of resistance at all. The crux of the question is, are we really so close to "Twin Peaks"? At least our author is not. After watching "Return", we can hardly imagine a so-called "normal" return trajectory: another murder occurred in Shuangfeng Town, another killer appeared, and FBI agents visited again. . After the great start of the first season and the fierce supernatural evolution at the beginning of the second season, we have seen such a "remake" in the second half of the second season of the original series and the movie "Two Peaks: Walking with Fire" . The former proved to be a useless self-imitation, and eventually fell into unrestrained cheap humor, and alive to turn a group of classic characters into a jumping clown; while in the latter, Lynch, who was the only one, consciously made the first act. The prequel story of the series: The murder of Teresa Banks and the design of Deer Meadow are an experiment against "Twin Peaks", deconstructing what defines the charm of "Twin Peaks" with an extremely negative image Various elements: small restaurant, coffee, FBI agent, murdered mysterious girl, etc.
"Twin Peaks: Return" shows a new possibility: a series that tries to return, in the evolution and repetition of its story, the appearance and disappearance of characters, it is looking for the possibility of true return. This is why in the beginning, all elements were divided into all corners of the United States.
NEW YORK CITY, New York
The most fascinating drama in the first episode of the return season is the New York City glass box plot-so mysterious and incomprehensible, and especially not "double peaks". I believe that many people can clearly recall the day of the premiere, seeing the shock of the three characters of New York City on the screen as the night of Manhattan suddenly appeared on the screen. This is a unique reaction. Later we learned that the lens itself is even just an online stock material! Why is there such a magic power? Let us first look back at how the opening paragraph of the first episode was constructed.
First, Lynch showed us something familiar. Before the opening subtitles, he reviewed the passages from the pilot episode and the final episode of the second season: Laura Palmer told Cooper "I will see you again in 25 years"; when the news of Laura's death spread throughout Shuangfeng High School The empty shot of the girl who flashed past the window screaming, but this time Lynch chose to slow down, like playing back a memory-our memory of the episode; the opening "TWIN PEAKS" accompanied by the words The classic portrait of Laura appeared, reminding us that the core of this series comes from her from beginning to end.
So far, everything is still familiar. Then, after the new opening footage (at this time we see the new texture of the red room), in the black and white image, an elegant and slightly unstable lens lifts up, and we see Fireman, with Cooper sitting opposite. Although in terms of video style, this passage has clearly demarcated the line from the original series. At this moment, we can still say that this is familiar. After all, who wouldn't want to see the return of such a classic character? Following this paragraph is the return of Doctor Jackie in the forest. Why is he? We ask ourselves. Besides, this is not the way you are familiar with introducing returning characters. The lens design is completely alienated, there are no close-ups, no iconic music, and we don't even understand his purpose of ordering these shovels. The entire passage is unfolded in real time with realistic aesthetics, quietly observing the character from a distance, and at the end, the camera's gaze behind the roots of the tree is more of a monitoring perspective. But even so, we were in Shuangfeng Town, and we saw familiar characters in the familiar forest. Even if the story did not unfold, everything was soothing, so we put down our vigilance. However……
Connecting the appearance of Doctor Jackie with the plot of the New York glass box is a short black scene that fades in and out. This editing technique has been repeatedly used by Lynch and his editor Duwayne Dunham this season, but it is different from the original drama. Concentrate on black screens that are forcibly separated by advertising time. The black field has a sense of ritual here, like a red curtain in a theater. When the curtain is lowered, we are trapped in mystery, because we don't know what the stage will be covered when it rises again. Just like the slow-moving shot (represented by the atomic bomb shot in this work) in Lynch’s movies, the camera focuses on a certain place, and then slowly enters that dark corner, accompanied by the sound of a breeze. At this time, the audience asked themselves: What is in the world on the other side after the camera passes through? Sometimes we are greeted by a whole picture of a different world ("Rubber Head"), and sometimes, the other side looks like nothing, but everything has changed with it ("Muholland Road"). This is naturally also a challenge to coherent lensing and continuity of thinking. It ensures that we always maintain a high degree of concentration of thinking-this is not a straight road, it constantly jumps, shuttles in the nonlinear time and space, they are Lin The wormhole in Qi's works (the "wormhole" actually appeared in this season's "Double Peaks") is both a shortcut and a dark path.
Red Room THE RED ROOM
The Red Room is perhaps the most symbolic Lynch stage. It is a complex condensed from all the above-mentioned inspirations: a limited space, but with infinite possibilities. Twenty-five years ago, Cooper traveled here. The audience was in sync with him. No one knew what would appear in the next room, because the appearance of each room looked exactly the same. Seeing it again this time, the shock it brought is self-evident, it is too familiar, but it is far from cordial. We have entered a state of chaos between what we know and what we don’t know: we clearly feel the change of its material, no longer a transparent bright red, but a thick opaque dark red velvet, and the sharpness of digital photography. The dreamy feeling of the film is broken, and every detail becomes clear and substantial. Even the 16:9 high-definition TV frame makes the look and feel more disturbed. It seems that this room will undergo spatial changes according to the frame (in fact, this is It has appeared in "Walking with Fire"). After "Double Peaks" completely opened its world view, this is no longer just a place to dream.
There is a lot of controversy about the naming of the red room: the dancing villain called it the "waiting room" in the second season; most of the time, we called it "the night guard/black house" (Black Lodge); but at this time Do we only see the dark brown stripes on the floor, and ignore the light yellow other half? At the end of "Walking with Fire", it was in the red room where Laura and Cooper were bathed in the sunshine of angels with tears in their laughter (this has always been the ultimate image of the "Twin Peaks" world before "Return"), Isn't it the "Shouri Gate/White Lodge" (White Lodge) at this time? At the same time, we can’t say that the room above the convenience store is a completely evil place, where Cooper’s evil twins can imprison Diane (incarnate as Naido); and when Laura walks through it in "Walk with Fire" At that time, she knew herself and penetrated into the future; when Cooper and MIKE, who really returned, came here, they were performing different missions. The disappearing agent Philip Jeffries (David Bowie) seemed to He is also a neutral person, just a guide in time and space. I don’t think Fireman’s house on the purple ocean is the so-called “white house”. Fireman can generate the sacred soul of Laura here, but when Cooper falls somewhere in the third episode, he sees the prisoner Dai In Ann, he also saw the ocean on the balcony. Are these two locations connected to each other? Perhaps the naming and definition itself is no way out, and the existence is unpredictable, as Hawke explained meaningfully: "The changes in the attributes of fire depend on the user."
Audience AUDIENCE
There are no series or movie reviews that have so many references to the word "audience" like "Shuangfeng". In the final analysis, it still has to return to its original attributes as a TV series. As a public TV series, the feature of accompanying filming makes it almost impossible not to be hijacked by public demand. "Who killed Laura Palmer?" This question is an inevitable haze, and it also exposes it. In the essence of television, it is only the truth of endless information exchange, and "Double Peaks" is the special commissioner sent by the film to conquer this "information fortress". This was also the ending at the time: Bob Iger, the president of the ABC TV network at the time, forced Lynch and Frost to expose the real murderer, as Lynch said: "This is the slaughter of a goose that lays a golden egg." Although It turns out that this struggle for creative power has produced unexpected fruits: Lynch’s 14th episode (season 2 and 7th episode) where Lynch exposed the murderer became one of the most classic single episodes in "Twin Peaks." In the closing paragraph of, Lynch edited between the realistic and horrible murder scenes and Julie Cruise’s sad hallucinations, creating the emotional climax of the entire second season; “Walking with Fire” let Lynch get rid of After understanding the pressure of Secret, he returned to the core character of Laura. The bad reviews when it was released did not prevent future generations from recognizing that this was his most human film, and even opened a new stage of Lynch’s film style; of course, there is no such thing. After a series of changes, it is impossible for "Return" to appear 25 years later... But the audience, as a core element, always fills "Double Peaks" with a layer of suspense from outside the play. It is a weekly update. Decrypt the game.
"Twin Peaks: Return" did not choose to go back to the original series, but a work made in one go, by the two authors of Lynch and Frost, but it was still perfectly reproduced for 25 years when it premiered. What's outside of this kind of play comes from the suspense between the work and the audience. After each episode was broadcast, the audience began to guess the meaning of various elements, and in addition to many unreasonable theories, most of the time the audience's careful observation will be rewarded from the author. A great example is when the episode premiered, people talked about the intention of the inverted phrase " yrev " ("very") that Bad Cooper was suspected of leaking in the prison in the fourth episode . Surprisingly, Lynch turned out to be After three weeks, he personally decrypted it as Gordon. This is why Showtime's weekly broadcast mode is more suitable for this show, rather than one-time broadcast like Netflix's episodes. "Return" must choose a more dangerous road, and invite the audience to go on the road together, and set foot on the road of "attempting" to return to Shuangfeng Town with the two authors.
Space SPACE
Outside the town of Twin Peaks, Lynch and Frost bloomed with flowers of inspiration: Las Vegas, South Dakota, Montana, Philadelphia, New York, New Mexico, and even Argentina, Paris, the Pentagon... … A series of stories and fantasies happened here. FBI agents took private jets to investigate everywhere. "Bad Cooper" drove his macho black truck with the current, looking for "coordinates." Lynch as the director. With the help of editing, we traveled everywhere and spliced clues... In Shuangfeng Town, everything we saw seemed to have entered a state of stagnation: the characters were trapped in their own space for a long time (Ben Horn, Audrey, Lucy who can’t understand the phone, Norma who always stays in the RR restaurant), or gets lost somewhere (Jerry), or experiences various painful strange phenomena (Bobby witnessed gun violence, and then, accompanied by With a harsh whine, he saw a girl who was vomiting; bad policeman Chad and alcoholic; ubiquitous domestic violence and sexual assault; drugs continue to rule the town’s underground economy; Richard Horn’s evil deeds) .
Palmer's home PALMER'S HOME
Started in 2012, Lynch and Frost spent a year constructing the script for the first two episodes of "Return". At the end of these two episodes, when Cooper fell from the After the glass boxes of the first episode meet, a Mobius ring is formed. It seems that this is also the epitome of the structure of the entire episode, a continuous cycle of superimposition, and this will be fully achieved in the last two episodes. The end of these cycles is even the same, that is, Palmer's house, the infamous No. 708. In "Walk with Fire", we witnessed the pain and suffering of Laura's family. Today, 25 years later, the only one who remains in this house is Sara Palmer. This wonderful scene is almost never seen in Lynch’s previous works—a completely private moment. At the same time, the still mid-range shots and the silent daily scenes are Lynch’s "Jeanne Dillman" moments, as well as the mother's story. Sara was also a mother, and Grace Zabrski's silent gaze was as disturbing as her screams. The scene when we saw Sarah this time is almost exactly the same as the composition of Laura and Sarah Dao's Goodnight in "Walk with Fire". Only this time, we can't see that it happened to be placed on the left side of the frame. A classic portrait of Laura outside (this portrait is still important this season). She hasn't got out of this shadow yet, I'm afraid she will never get out again, everything is presented in this silence and the roar of this beast.
But you may ask, why did you choose to cut here suddenly? What we saw one second before was Cooper falling into space, accelerating continuously, not knowing where he was going; the next second, Sara was sitting in a dark living room watching wild beasts slaughter. Lynch’s seemingly rigid transitions in this season sometimes seem illogical, and it is indeed puzzling at first glance, but let’s talk about the development of the episode: 1. Sarah is clearly occupied by supernatural forces (episode 14) ; 2. The glass box is proved to be the creation of Bad Cooper (Episode 10); 3. When Bad Cooper finds the coordinates he wants, Fireman will transfer it to Palmer House at first (Episode 17) ). So, let’s assume Lynch’s thinking: Cooper entered the trap (glass box) set by Bad Cooper after being set in the Red Room, and was supposed to be transported to Palmer’s house to face the most evil "Judy" ( At this time, she also needs a violent TV show to obtain the energy of "Garmonbozia"-the evil spirit in the "Twin Peaks" worldview, using cream corn as a visual symbol to symbolize the pain and suffering in the world). Naturally, it's impossible for Lynch to spoil everyone at this stage, but this little foreshadowing, I don't want to know, I want to be surprised.
Movie CINEMA
Facing the ever-changing space in this work, the audience may be more entangled in a space-time logic that tries to imitate the physical world, but after all, what we are watching is a work created entirely by film consciousness: if you lose dissolve, invert With montage, it is impossible for us to see how Cooper enters the red room and feel its charm about the interlacing between finite and infinity in real time. In "Return", a lot of time is spent on the character simply driving at night, or walking through a porch, or standing somewhere waiting, or crossing into another world in a flashing jump. When Cooper huge face superimposed happy reunion of the police station, his deep voice slowing said: " We live in a dream " ( " We Live Inside A Dream "), then the dream would only be movie , A dream carried by ideas purely from the movie, this is also beyond the "Muholland Road", the subjective lens that needs to rush to the pillow to imply the state of the dream.
In "Return", the Freudian dream interpretation will be replaced by purely cinematic words: a movie screen hangs in Fireman's theater, and it is in this that he receives images of the darkness of the world, and That’s why he was able to drop golden souls in the direction of the screen (Episode 8) and manipulate the characters to switch between scenes (Episode 17); this explains why some of the characters in the film disappear in the double shadow / Appears, or sometimes is directly erased from the screen; the chaotic movie time in the opening of the third episode is played backwards/forwards, fast/slowly, and the chaotic movie time informs us of the arrival of danger; in the same episode, rising from a room Opening the skylight, we suddenly found ourselves in the universe (just like Maya Deren’s work "On the Land", she uses the corresponding action clips to crawl and run in an infinite number of spaces); when the series tried to reconcile some When the actors passed away, Lynch directly captured their images from past films, allowing them to survive in a ghostly manner... When Gordon opened the hotel door in 2017, Laura called Donna for help in 1992 Suddenly the image of was overprinted in front of the door (the tenth episode), and Gordon’s face was puzzled; after that, in the retelling of his dreams, he directly saw himself that was preserved in the past film (fourteenth) Set), so I remembered the reminder that Agent Jefferies gave him back then. Both images are taken from "Walk with Fire"-a seemingly abrupt move. And when Cooper arrived on his own mission, he came to the end of this prequel-the newly shot image and the film (converted to black and white) shot 25 years ago were edited together. Existence allows him to make dangerous moves that change history. In the most beautiful set of shots of the season, Bad Cooper and a "lumberman" slowly walked up the stairs leading to the convenience store. They "disappeared" in the double shadow with the sound of electricity, and then Lynch chose The advancing shot that dissolves into a dark forest—a completely impressionistic action. It is the shot that slowly advances in the exquisite sound before sending us to the supernatural room on the other side; and when the bad Cooper walks to the room When the door was opened at the end, the sound effect suddenly became natural. What he saw when he opened the door seemed to be just a car hotel... So, what is supernatural? Perhaps it is hiding in the seemingly ordinary space.
THE ROADHOUSE
As a result, Roadhouse may have become the weirdest of all the locations in Twin Peaks this season-a place that has long been ghosted. It seems to be stagnant in the 90s. Peak" is a place with all the beautiful sights in the world. This is a transit point where the audience gathers. They sway with the band in the episode on the dance floor, like us in front of the TV. No matter how we accept or reject the fragmented plot of the episode, there will always be a self willing to unconditionally Throw yourself here, because this is the symbol of the classic "Twin Peaks". Whether it’s Julie Cruise’s dream ballad or the heavy metal of nine-inch nails, people want to come here. The introduction of "Bar" is expanded), and in the half of this season's single episode, we are here to make a short parting from all the stories. But at the same time, the bar often refuses the temptation of simple music and staged the most incredible random scenes.
At the end of the second episode, Chromatics’s incredibly refreshing "Shadow" opened up a new tradition in the "Twin Peaks" world: we saw familiar characters and familiar music, but everything was re-interpreted in a modern way-one Symbol of an excellent sequel. The two subsequent episodes also end in the same way, and the selected songs are also relatively relaxed. From then on, we will look forward to the appearance of the bar in every episode, and sometimes it also brings sadness, because often this also means that the episode is about to end. Lynch and Frost have always been masters of cultivating these little habits of the audience, but needless to say, they are also the best at breaking these habits. This is also the generosity and secret of this show. We always look forward to it. The author can often meet these expectations, but everything does not always unfold according to our expectations.
However, while enjoying music and savoring these beautiful moments, perhaps we should not forget that the owner of the road house bar in the play has been the Renault family for more than half a century. In order to specifically emphasize this point, the two authors even invited back Jacques Renault, who was killed in the original series, and let the original actor Walter Olkewicz play a new member of the Renault family to manage the bar. As one of the key people involved in the murder of Laura, you must remember how Frost aimed at his lips in the eighth episode of the first season of his director, filming his dirty words and deeds. In "Return", his words and deeds are not much better (see the "Infamous" sweeping scene in episode 7), but we realized that Shuangfeng’s underground pornography industry is still rampant, Lin Qi Bringing back to this role, his secret reminds us how Laura fell into the dark side of this world and eventually led to her death.
Therefore, the comfort in the road house bar is destined to be short-lived, and it also mutates indefinitely as the music style changes. Therefore, it can be very bold to say that in "Return", the "finite/infinite" active relationship of the Red Room has been extended to every corner of the "Double Peaks" world, and even in Cooper's sight, it is more capable It is activated "at any time" (in the red room, the one-armed MIKE often flashes in the translucent layer, and can even transmit objects through the air). The road house bar has been a place for supernatural powers since the original series. When the real murderer of Laura was revealed, the people in the road house bar first sensed the tragedy " It is happening again " ( It is happening again). ). These bizarre phenomena are presented in a more boring way in "Return", which is reflected in the random characters sitting in small boxes and a kind of existence that seems to be parallel to time and space. Using the eighth episode as the dividing line, starting from the ninth episode, these random characters began to appear in the road house. They (almost all of them are women) will only appear once, and then they will never be mentioned again. Just as you never know what you will encounter next time you open the curtain of the red room, these random characters in the road house bar, and their stories-soap opera-like plots, dangerous intrusions from time to time, violence everywhere, and occasionally The flashing clues about the "main" plot characters, etc., are also given such a sense of unease. Just as it was difficult to adapt when watching Lynch’s return to the second season finale directed by Lynch for the first time, the audience’s first reaction to these characters who had nothing to do with the "main" plot was doubt, even anger, and protested why. Don’t give this precious time to more “important” characters. This kind of doubtful emotions will be broadcast in the twelfth episode. Hopefully, I finally look forward to coming to Audrey, but what I get is such a long and strange dialogue plot that reaches its peak. .
But Lynch and Frost’s depiction of the space in Shuangfeng Town in this season does not have any so-called "important" or "unimportant": except for the two commonplaces of Shuangfeng Police Station and Roadhouse Bar. Outside of the resident element, any other scenes are thrown out in a seemingly random way. This kind of thinking is indeed confusing, but on the other hand, it can be said to be a kind of equality. In the world of "Return", even if the plot feels random, once a scene is thrown out, a tightly controlled control over rhythm, language, pace, sound, and shots will be reflected, even when they are only two. Talking about seemingly unrelated characters, or gazing at a telephone pole, a foot, and even a close-up of a coffee cup is full of luster. Each scene seems to be an independent short film, which is placed in " "Double Peaks" embraces the infinite container.
"What is your name?" "WHAT IS YOUR NAME?"
At the end of each episode, the appearance of Kyle McLachlan’s name reveals the end of the episode, but Cooper, no matter what form it is, does not appear in large numbers in each episode. In certain episodes, his playing time Not even a minute! Only the craziest movies dare to make such a decision. But I am not ready to talk about Cooper. After all, this is an infinite container, so let's take a peek at these infinites. Are the characters in the road house bar really so "casual"? In the twelfth episode, the name game where Audrey and Charlie reported the name of the dish is a headache, isn't it? In fact, Lynch and Frost have already hinted that it is also a vaccination leading to the last and ultimate moment of the show, the eighteenth episode. Furthermore, this dangerous and ambiguous suggestion leads to another way, the way to the real world. These "random" hints that we, everyone is a part of this world, and the story will happen to anyone. , You will never guess what will be standing behind the door.
Back to the first episode, at this time we don’t know much about the pattern of "Return", but the glass box in New York City, as well as Sam and Tracy, are not the two most classic "random" characters. (Same as the character in the bar, this young couple quickly disappeared from the story after being brutally killed by the "Experiment Model")? More obviously, just before a certain critical moment, Lynch and Frost chose to join such a curiously funny plot. Yes, we were just curious at that time, and we haven't been able to lead to confusion:
A woman named Majorie Green (Melissa Bailey played a neighbor who was accidentally injured by a hapless gunman in "Mulholland Road", apparently she rented the wrong house again) with a Chihuahua dog (think of Gordon Cole in the second season) Joke) walking down the aisle of the apartment. The key hung on the woman's arm was making various noises, and the key was the key to the scene. The funny thing is, it took us the next five minutes and at least four characters to find it. This is a carefully arranged prank. In just a few minutes, we heard a series of names: Barney, Ruth, Hank, Harvey, Chip... Except for Hank, everyone else only appeared in the conversation (and one who lost his body). The deceased), Chip has no phone yet, and almost all of them will disappear in later episodes.
Although we didn’t hear the above names very much in the next ten hours, a series of new names appeared in our minds one after another: Red, Billy, Bing (the role of Riley Lynch, asked at the entrance of the Double R restaurant) " Who has seen Billy "), Trick, Chuck, Clark, Angela, Tina, Carrie Page, Alice Tremond...; even the ones we thought we were familiar with appeared in distorted appearances: Sara Palmer, " Judy", Jeffries, Richard, Linda, even Cooper himself... Maybe there is a kind of identity politics about names, which is both a poison and a blessing. Perhaps only in the world of "Double Peaks", a few simple names can have such an effect, precisely because "Double Peaks" as a systemic world has so many signs, but its author is so paranoid that he hopes to deviate. Everyone’s imagination. Lynch and Frost can completely randomize them without giving names to these characters to help the audience eliminate these doubts, but the names they each have are also what they have as a complete person in this world. Prove.
Lynch and Frost arranged as many as 280 characters, large and small, in the entire journey of the eighteen episodes. A total of 39 actors from the original series returned to perform. The two authors never chose to favor either side. Take the first episode as an example. The two new characters of Sam and Tracy in New York and the plot of Bill Hastings in Antlers take up almost all of the time in the first episode. Lynch presents these two in the most concentrated manner. A story line, and the old characters who are fluently interspersed in it-Ben, Jerry, Lucy, Ms. Maraki, Doctor Jakoby... Although the drama seems to be streamlined, but within a few minutes, the author returned to the audience Familiar to them. As the "Manual" praised in the comments: just a short glance, just understand that they are still here. The light handling of the classic characters and the ease of jumping with the new characters seem to make you feel that the episode has never left, so there is no need for a grand welcoming party (only Cooper, Diane and Laura get to some extent) With this kind of courtesy, these roles are the undoubted center, and are also related to the subtle dialectical relationship between nostalgia/anti-nostalgia), we only need to directly enter the world in which they live. Therefore, the highly equal relationship of the series ensures that when we enter its most critical final stage, the audience will be prepared for any possibility, and gradually expand the world of "Twin Peaks" to its At the same time as the most infinite edge, it partially satisfies the audience's desire for continuity and ending.
In the last scene of the last episode of "Return", Cooper (or "Richard"?) asked two questions, " What's your name? " and " How many years is it now? " This It's an existential moment in the series "Who am I where am I?" Not coincidentally, this is also a question we often ask ourselves throughout the show. In addition to the names of people thrown around, the year and time of the whole play is also a mystery-except for 1945 and 1956, which are clearly stated in the eighth episode (on the one hand, the clearer the science and interpretation, the other means more The powerful unknown), we have no way of knowing the year of the episode, and this mystery reached its peak in the last episode. Questions about time will come back. When Cooper came to the purple room in the third episode, the sensation of the electric current generated by the jumper made us dizzy. At this time, Cooper asked: " Where is this? Where are we? " At this time, the audience and the protagonist Sharing these mysteries together, everyone is a detective. The generosity of Lynch and Frost lies in not avoiding questions, because everything the audience is asking, the works are also asking.
Freddie FREDDIE
Let us focus on one of the characters that may seem to be the most "random" in the entire "Return"-Freddie, a British guy wearing green superpower gloves. Freddy’s role was inspired by Lynch. In terms of casting, Jake Wardle, who posted a multi-national accent mimicry video on YouTube (first released in 2010 and currently has more than 32 million views), was selected by Lynch. This mysterious character who appeared briefly with an "exotic accent" at the end of the second episode surprised everyone. Among all these new roles in the comeback season, Lynch seemed to be particularly partial to him, and even gave him the most at the end of the play. One of the "sacred" missions.
Freddie & Andy
Just as Lynch chose him because of his linguistic talents, in the play, Fireman from the "God's perspective" also invited him-an outsider. In the fourteenth episode of this story, he told the "older generation" James John Hurley tells (in this episode, the storytelling element is almost taken out alone as the structural skeleton, and Gordon tells his dream of "Monica Bellucci", which Albert gave the tower Agent Mi tells the origin of "Blue Rose", the story of Bobby and his father, and Lucy's story about Bora Bora puzzles Gordon). In the first half of the same episode, Fireman also accidentally selected another character-Constable Andy, and showed him and us the image of the future (contrary to Freddy's pure story). Just like Freddy asked Fireman: " Why me? " Fireman replied: " Why not you? " Freddy's narration followed the adventure of the four police officers at the Major's "Jack Rabbit's Palace", not only in the form of a movie. The last was an elegant transformation, and it can also be called an annotation to Andy's victory.
As an old character, Andy’s "status" in the original series is obviously in front of the "senior" characters such as Cooper, Lilan Palmer, Truman, Ben Horn, and Albert. "Not too high", because he doesn't seem to be "manly." For most of the second season, he was imprisoned by the screenwriters in the love triangle between himself, Dick and Lucy, and staged a ridiculous comedy drama. It was not until the real author returned that he barely got out. , And also pointed out the key clue to the "black room" to Cooper. But Lynch and Frost have always loved him, and they gave him an unforgettable and funny scene at the beginning of the pilot episode: In front of Laura’s body, he burst into tears, even if there was nothing between him and Laura. No intersection-this is the true nature of Andy. Our two authors never doubted the inner wisdom of the seemingly naive and stupid police officer, and this is what he surpassed in the fourteenth episode. Andy's story is a straight story, but it still leads to greatness. Looking back at the scene where Andy crossed, it was really surprising at first sight, but from Lynch’s scheduling, the answer was already obvious: after seeing Naido, what was given to the other three police officers was simple Standing, and only Andy crouched down to hold Naido's hand tightly, staring at the whirlpool in the sky.
The corrupt policeman Chad sarcastically in the seventeenth episode: " Isn't this the good policeman Andy? " Yes, the cynic ridicule was quickly hit by Freddy, and Chad disappeared. The unexpected victory of Freddy and Andy is an anti-"masculinity" necessity, just as bad Cooper "represents" masculinity in the play (when he made his debut in the first episode, the portrait of Otis in the cabin Calling a pimp as affectionately as "Mr. C"-a pimp who sells a professional assassin), unbiasedly picked up a stone and smashed him in the foot, proving his own ridiculous masculinity.
Freddie and "Bob" (comedy) FREDDIE & BOB (COMEDY)
Just like the superhuman power given to him by Fireman in Freddy’s glove, the "Bob" parasitic in Mr. C's body also gave him such power, so in the first half of the thirteenth episode of the hilarious farm "battle" , Suspense almost ceased to exist from the beginning, and turned into a serious farce. We saw a group of tall men with disgraced faces boasting that the reason why their boss is the boss is because no one can beat him on the wrist. When this sentence was said, the audience must have understood the end of the matter. Of course, the most funny thing is that it is precisely because of this that Lin Qi was able to take pictures of these men with relish. Just like watching a boxing match where the winners and losers have long been divided, all the roaring and grinning dances have become Pure scene scheduling, Renzo's face with tight muscles and red ears when facing Mr. C has also become an excellent comedy performance. What has been dispelled is the spontaneous passion on the surface of violent competitive sports.
It’s no wonder that Mr. C’s final destiny looks so ironic. Lucy first shot a historic shot (Lynch and Frost must have waited a lifetime for this moment), and then the black sphere of "Bob" was shot. Freddie "huhu" several times to break it. A comic-style treatment of comic-style characters. The battle between Freddie and "Bob" was edited in fragments, while Lynch personally took the SLR camera to shoot those shaking shots, the scheduling was torn apart, the images flashed and overlapped, and a "hand-to-hand fight" turned into abstract art. Taste. This is also a dangerous tightrope attempt, in conjunction with the anti-climax ending of the two killers Jennifer Jason Lee and Tim Rose in the previous episode (like coming from the set of Quentin’s "The Hateful Eight")-by Poland The accountant (another character who popped up suddenly) shot himself to death with a semi-automatic weapon. The truck carrying their bodies crawled feebly past the two FBI agents who had witnessed the scene like a tortoise, and stepped lazily on the grass beside the road. The death of the killer, the ending of "Bob", and Freddy's design, like the sudden acceleration and explosive plot development of the sixteenth and seventeenth episodes themselves, can be said to be a time for the overall tone of the series. Deliberately sabotage, but more like a warning from Lynch. In fact, the audience also knows that we subconsciously feel that the ending of "Bob" is wrong. This original series and the scariest demon in front of Laura Palmer in "Going with Fire" should not be so. "The digital special effects ended hastily, didn't they? But at this time, everyone is Freddy, and the desire for a happy ending and the "ultimate mission" is so strong, so a brief memory loss occurs. We accept this fact and accept the beautiful fantasy given by Lynch's generosity (as in " Mulholland, but this time is far from being as simple as having a dream), but I don’t know that a whole hour and a half of unexpected turn will happen.
"Judy" JUDY
But perhaps "Bob" and Mr. C should be so "rapidly ending", because they are not the essence of the problem. "Bob" caused Laura's death? No, the essence of "Twin Peaks" is a story of family trauma and inconsistent relationships in the original family. "Along with Fire" also quite clearly shows the gap in Li Lan's heart as a father. His tightness and cowardice eventually evolved into violence. "Bob" caused the fall of Cooper's split? Similarly, yes or no, "Mr. C" may only be a part of Cooper's heart. The Cooper who loves coffee and the fragrance of trees is also part of this whole. At the end of the second season, the "complete" Cooper took the initiative to accept it. He has made a deal with the devil, and he will make this mistake again. Gordon/Lynch started to explain "Judy" in the opening of the seventeenth episode. It seemed tempting, but this was actually another warning. What drove the mysterious FBI director to suddenly reveal those secrets that he didn't want to mention for 25 years? There are more secrets behind the secret. Gordon tells us that "Judy" is an extremely negative force (force), so we immediately began to look for a certain entity in the image library of our minds: it was the Sa parasitized by dark things. pull? Is it the phantom that killed the New York couple? Is it Bad Cooper's playing cards and the weird logo on Hawke's map? Or the "Judy" restaurant in Odessa, Texas?
They may all be "Judy", but maybe they are not. If the eighteenth episode proves anything, it proves the misunderstanding of the entity and the symbol: When you are trapped in the red because of Cooper in the previous work When the room is the most terrible thing, maybe it’s not that simple. After all, even if the red room is like an abyss, it is just a “room” after all, and Cooper can still “leave” one day; when Cooper was divided into pieces In the three forms, don't worry, he will always have a day to face him; but if he enters a realm, does this realm have neither an exit nor an entrance? What if this field is our real world? What Lynch’s spectrum ultimately proves is that any surreal field is ultimately no match for the irony of reality itself: driving on endless night roads, dark lights in small restaurants open 24 hours, or just an ordinary place in Washington State. House of. Just as the American writer David Foster Wallace defined "Lynchism" after watching "Blue Velvet": the creeps behind the everyday and the ordinary. Of course, there must be surreal dialectics to urge these secrets, as revealed by the childlike paintings in the case report when Cooper became "Dodge Jones".
Dodge Jones DOUGIE JONES
Dodge Jones, what an ordinary name: "Dodge" is like the kind of nickname people use to refer to domestic puppies, and "Jones" is the choice of David Bowie (real name David Robert Jones) when he debuted The characterless last name that was abandoned. Obviously, he didn't have all the temperament that Cooper had: the clothes were very poor (even if Lynch had a weird beauty), he was obviously wearing a wig on his head, and he was lying on a simple mattress in the empty house with a big belly. This is the worst appearance Cooper can be, and it's even worse to bad Cooper. The latter has at least some big villain charms floating in it, and Dodge can only squeeze a few smiles from his face lazily. More ridiculous than any surreal effect. But while we were still wondering what this monarch was, he disappeared (episode 3) and was replaced by the real Cooper, who fell into a half-dream and half-awake state-just when we felt that things could not be worse , We have to watch the once mighty "Twin Peaks" male number one turn into a complete fool, and get trapped in a worse identity: Lucky 7 Insurance's position is crumbling. The salesman was hunted down by criminal gangs, threatened in gambling debts, and rejected by his wife for cheating.
Yes, we have to talk about Dodge, not the gambler Dodge in the ugly yellow suit, but the "Dodge" who let Cooper sleepwalk for thirteen hours. "Twin Peaks: Return" is undoubtedly a new inspirational collision. If this work is a miracle, the appearance of "Dodge Jones" undoubtedly symbolizes the infinite ecstasy brought by this miracle. Lynch said: "I want to To drive away the darkness, all you have to do is turn on the light." Special agent Dale Cooper, incarnate as a "Dodge", has become a flashing force. The author uses a primitive but radical way to let us revisit this classic The unique virtue of how the protagonist is "special". This silent child carries the gravity of the supernatural field to disperse all hypocrisy and evil. He sees through the deception at a touch. He condenses and simplifies the language of people; he restores the harmony of the original family, purifies the hearts of competitors, and the forces of evil are like The same poles of the magnet were repelled by Dodge. However, this is also Lynch's saddest irony. "Dodge" is an "unnatural" artifact, trapped in Cooper's body, but still a Juba (tulpa), an unrealistic image of an extremely good person, like a person who accidentally scored a perfect score in an exam "Stupid student", he stands alone under the statue of a western cowboy (at the end of the fifth episode). His luck and happy ending belong only to the movie-this is destined to be a story that happened in Las Vegas, the purest Rhapsody.
To love "Dodge" so much is not to be passionate about the image of children and optimism without reason, but because Lynch's scheduling is never lacking in suspense, so that Lynch slows everything down to make you care about him: you feel him The new-born body walked slowly, occasionally hitting a glass wall; he triggered the madness in the casino, pierced through the slot machine illusion, alarm bells (vague meaning: arrest me or reward me?) accompanied by coin jingle Sounds , and formed the music with " HellooOoOOoOOooo! "; he is almost Mr. Yu Luo in Jacques Tati’s comedy, and he spreads the sensory experience lost in his own body to all those who intersect with him, his clumsy body Exercise magically makes the other person feel the emotion. You have never been able to look so closely at the face of Kyle McLachlan, an old friend of Lynch, the loss and memory reflected in his silence and stiffness. He saw the starry dandruff of the corrupt insurance employee Anthony's forehead sprinkled on his suit, and the latter made a tearful decision to correct evil (Gordon chanted " Fix Your Hearts or Die " in the fourth episode ); Naomi Watts The Janey-E who plays the role of Janey-E feels happiness again, and exhales her inner anger towards money and the bureaucratic world. Incarnate "Dr. Amp"); looks like the stereotyped gang boss Mitchum brothers when they met him, they fell into a carnival, lined up and danced; his boss Bushner Er-a former boxer discovered the charm of transcendence. In the sixth episode, when he saw the graffiti of "Dodge", he was confused and angrily said: " How do you expect me to understand it? " And "Dodge", just silently repeating: " Go...understand It. " (" Make... sense of it. ") So he immediately saw it clearly.
In the eleventh episode, the old wandering lady (Linda Porter) of the casino suddenly appeared from the background wearing a gorgeous costume and her son accompanied by the new song of Badalamanti, facing the "first prize" in her eyes. "Mr. Jackpot" (Mr. Jackpot) when we thanked her endlessly, our hearts were shocked. The audience also won the first prize: this is the most unexpected emotional moment in this work, comparable to the ending of any Frank Capra movie. A check of $30 million and a piece of cherry pie allowed Dodge to escape the catastrophe, and two slot machine jackpots worth $28,000 have transformed this seemingly trivial set into the entire "Return". The most moving character-to be honest, no one expects, and no one cares if she returns. But Lynch and Frost let her come back, not just to let us see how a poor old lady gets rich overnight, she has far less money than "Dodge", but it is enough for her. The two authors want us to see how she gets rid of the image of a world-weary and barren gambler in the third episode, and blooms with amazing dignity, generosity and full personality charm: she looks at this aphasia "special" agent, like watching His own flesh and blood are average. Her costumes, houses, and her dogs are not arbitrary consumption under the name of neoliberalism. Lynch just wants to prove this little push, even if it remains in the absurdity and hypocrisy of the essence of Las Vegas. Can change a person's life. We will never see her again (the actor also died after the show was broadcast), but the video, music and performance are enough to convince us.
I believe Dodge BELIEVE IN DOUGIE
When he woke up from the dream, Cooper told MIKE to use the "seed" to recreate a new Dodge. The latter fulfilled Cooper's promise to Janey-E and Sonny Jim at the beginning of the eighteenth episode and knocked on the red door. This new family has a happy ending-the only happy moment in this episode. From then on, things will drive toward the infinite darkness, break away from the nostalgic beauty and idealism erected in the first two episodes, and return to our trapped reality. middle. Lynch and Frost are here to remind us of the illusion of the essence of "Dodge", but at least, the greatness of "Dodge" can be revisited repeatedly in this work. As an ideal, he is not useless. Yes, when Cooper slowly fell into the chaotic state of "Richard" and desperately tried to change the past and enter a new abyss, we began to miss "Dodge", the irritating and clumsy one, " "Dodge" wasting the audience's time.
Message to THE MESSAGE
"Hawk, the sound of electricity is ringing. You hear it in the mountains and in the river. You see it dancing in the sea and the starry sky, flashing around the moon, but now, the flash is gradually fading. In that darkness What else is left? The Truman brothers are both real people. They are your brothers. And the others, the outstanding ones are also standing with you. Now, this cycle is about to become a circle. Listen carefully, look carefully , The dream of time and space. Like a river, everything is surging out. Those existence and nonexistence. Hawke, Laura is the only one. ” (Ms. Yuanmu, episode ten)
Portable Recorder TAPE RECORDER
In the second episode, in South Dakota, the "Bad Cooper" who expected something unusual surrounded the unsuspecting Darya in the motel. We immediately perceive that she is completely exposed to danger or even death. Men’s violence against women continues to be scrutinized in Lynch’s works, from Dennis Hopper and Isabella Rossellini in "Blue Velvet" to William Dafoe and Law in "My Heart is Wild" La Dunn; and "Twin Peaks" is one of the representatives. The rest of the 8-minute interrogation is Darya's desperate uselessness and Bad Cooper's absolute indifference, and the audience already knows the ending. At the same time, Lynch reinforces this cruelty through the superposition of actions and lines-Darya repeatedly tried to escape, as many as 4 times, and each time she was pulled back by the bad Cooper, and she was helpless. The close-up of huge characters makes watching the scene even more uncomfortable, forming a terrifying reason with a neutral viewpoint. McLachlan’s performance in this passage is so extreme that we cannot associate this character with the "real" Cooper; however, what triggered the conflict between the two was a call that Cooper monitored through a portable tape recorder. What can be more terrifying than Cooper took out a black portable tape recorder at this time. Anyone who has watched "Twin Peaks" will understand the significance of the portable tape recorder to the character of Cooper-Diane, who has not yet appeared. Once, we always watched Cooper report the situation to Diane through a tape recorder, or in the car to Shuangfeng Town, or in Shuangfeng Town Police Station, or in Room 315 of the Northern Hotel, etc. This character, who had never really appeared back then, is Cooper's best partner. Now, Bad Cooper is carrying a similar portable tape recorder on the stage. Although he
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