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Twin Peaks: Fire Walk With Me

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Essentially a prequel to David Lynch and Marker Frost's earlier TV series "Twin Peaks". The first half-hour or so concerns the investigation past FBI Agent Chet Desmond (Chris Isaak) and his partner Sam Stanley (Kiefer Sutherland) into the murder of dark-shift waitress Teresa Banks in the small Washington state town of Deer Meadow. When Desmond finds a mysterious clue to the murder, he inexplicably disappears. The motion-picture show then cuts to 1 year later on in the nearby town of Twin Peaks and follows the events during the final week in the life of Laura Palmer (Sheryl Lee) a troubled teenage girl with ii boyfriends; the hot-tempered rebel Bobby Briggs (Dana Ashbrook) and tranquillity biker James Hurley (James Marshall), her drug addiction, and her human relationship with her hard (and possible schizophrenic) father Leland (Ray Wise), a story in which her fierce murder was afterward to motivate much of the Television receiver series. Contains a considerable corporeality of sexual activity, drugs, violence, very loud music and inexplicable imagery. —Douglas Baptie

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10/ x

Severely nether-rated prequel to one of the best Television set serial e'er

Past the time this picture was released, critics and TV audiences had already decided its incomparably mediocre box-office fate. The usual network attitude toward annihilation which demands thought and interpretation bodacious the cancellation of the serial in its second flavour, and Lynch'southward difference from the show's managing director'due south chair to brainstorm this flick project all merely sealed the fate of the evidence. Unfortunately, this same fate determined both the critical and public approach to the film project.

TP:FWWM is a prequel to the two-flavor Twin Peaks saga, and (sort of) answers the question 'how and why did Laura Palmer die?'. Fans of the show by and large knew the answers before they saw this film, but to come across Laura's life so vividly realized, and to run across the Telly characters cast into such a unlike, more harsh, surreal and disturbing lite, really invigorates the entire TP phenomenon. FWWM really inspired me to watch the unabridged serial again (and equally of 2004, I am in the process of watching it again). Fans of the series who institute themselves disappointed by the final few episodes of the serial because they felt information technology became too bizarre, are likely to observe this film more than gripping, though they will probably stop up as unsatisfied every bit they were at the onset. Those who found the second flavour thrillingly experimental are likely to be surprised by the subtlety of and dramatic quality of this film. Those, similar me, who approach the flick with few tangible expectations might but find themselves, compelled, disturbed, and very entertained.

The performances are by and large very skilful, but not entirely even. Some Boob tube cast-members, given the vastly expanded possibilities of movie theatre, actually showed their range and depth. Sheryl Lee, MacLachlan, Dana Ashbrook, and Ray Wise were especially impressive. The cinematography is less powerful than the usual Lynchian vision (see Eraserhead, Lost Highway for extreme examples), and is more than in keeping with the TV show's straightforward, but moody, photographic approach. The overall production values are, in fact, comparable to those of Mulholland Bulldoze - also originally planned by Lynch as a Telly testify. Though more than subtle than many of Lynch's more improvident works, TP:FWWM is very successfully manipulative and powerful.

I ardently appreciate Lynch, because him ane of movie theater and performance'south greatest gimmicky artists. And I am unashamed to country that I believe this to be amongst his finest works. Many of Lynch's fans beloved to write interpretations of Lynch himself, equally if all of his films are in some way continued beyond the obvious fact that he directed (and mostly scripted) them. I practise not disagree with this approach, but, in my stance, whatsoever such universalizing comments more than or less miss the point. Lynch is one of many managing director's who view pic as an art form, not as a craft, nor as a vehicle for specific messages and stories. Equally Lynch has stated, repeatedly, his films involve a dream-like reality and often attempt to invoke a dream or nightmare state in viewers. Dissimilar most, however, Lynch succeeds in the purity of his art. His films need interpretation, appointment and, what's more, demand a different and unique interpretation by virtually who view them.

If yous are looking for something which can be universally interpreted from TP:FWWM every bit part of this imagined gear up of Lynchian themes, I am non the reviewer to give it, await elsewhere. I have too much respect for Lynch'due south artistry to subject him to my own interpretive explanations.

If you are looking for a simple story which will clear upwardly the insanity of Twin Peaks, don't bother with FWWM.

If you are looking, open-mindedly, for an intense, disturbing, and well constructed cinematic experience which creates more than questions than it answers, and retains elements of mystery in a fatalistically driven plot surround, you lot've come to the right place.