I would be lying if I said that I have been a ‘Peaky’ for 25 years, but it has been certainly more than two decades since I watched the series every couple of years and I have followed Peak-freak groups for many years. These groups, of course, only contained ‘die-hard fans’ when the series had faded from the public eye. Then a while ago there was a stir within the fan base, since, did Laura Palmer not say: “I will see you in 25 years” at the end of the original series? Would Lynch (and Frost) indeed revamp the series? For a while Lynch denied, but either or not persuaded by all the attention, at some point he confirmed that work was done on a new season. Not too much later the filming had actually started, again in Snoqualmie, and people who went there to see what was going on, could see what actors were involved. Actors were confirmed, rumors wandered around the rest and in the end the new season was put out with a massive amount of publicity. Mark Frost even published a book. Suddenly everybody was a Twin Peaks fan and had been one for 25 years.Read More »Twin Peaks (series, season 3 2017)
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It is a magnificent day for a Dutch Lynch-freak. Today “Inland Empire” premieres (in only five cities!) and we are going to see it coming sunday. Also, after almost five years of waiting, the often anounced boxset with the remaining Twin Peaks episodes is available!! The ‘first series’ was 7 episodes (you had to buy the pilot separately if you got the American version like me, I believe the European version has 8 episodes) and now we are finally up for the remaining 22. The series proved successfull enough to allow Lynch to make more episodes, yet it never came to a third series. The box of the second series is nothing compared to that of the first. There is no tranparant plastic case this time, just a cardboard box holding two ‘digipacks’ with two halves of the second series (which are released separately in Germany I heard). The artwork seems to have been tried to give a ‘modern look’. Why does the dwarve have white eyes on the box and what about this strange frontcover?
You can imagine that I haven’t yet watched the 22 remaining episodes, I just got the box! I have seen Twin Peaks a couple of times and I am not going to say anything except that this is the best that ever appeared on TV. If you don’t know Twin Peaks, you will have to start with the first series anyway (read my review of many years ago) and the rest will be excited by the news that the remaining episodes are truely finally available on DVD.
This film is actually a weak afterbirth of the popular Twin Peaks series. Having left the viewers with many unanswered questions after the series, Lynch returned with “the chilling truth behind Laura’s final days”. Indeed you get to see who killed her, but real answers aren’t here either. Fortunately! Watching this film I actually have to conclude that it may well be almost as good as the series themselves. It is much darker, far much stranger and Lynch really seemed to have wanted to give everyone who wanted simple answers a punch in the face. Not the answers people were waiting for for sure! A lovely film that you really shouldn’t watch before you saw the series.
Of course I saw this one many years ago, but recently I bought the UK DVD. No extras whatsoever, but who gives a damn.
Without a doubt “Twin Peaks” is the best thing that ever happened in television-history. Reshown on several TV-stations several times, but now we have been ‘Peaksless’ for far too many years. Long ago the complete series have been made available on video. You can either look for the tapes, but I believe they are still obtainable when you know your sources. Too long after the introduction of the DVD “Twin Peaks” is available again. First in America of course, a few weeks ago Europe followed.
The editions are very different though. The European version is twice as expensive as the American version. One reason for this may be that the European version includes the pilot and the American doesn’t (…). Hoping that the American version would instead include the first episode (there is actually a pilot AND a first episode), I got the American version with the idea that I would get the pilot later. However the count starts at episode 1, this is not the first episode! Laura has already been found, Dale Cooper is already in Twin Peaks and you are already supposed to know the characters. That is really too bad, because I would have loved to get both the pilot and the first episode…
Anyway, the first series are episodes 1 to 7. Two episodes per disc plus extras on the fourth disc. Also there are some extras on the discs with the episodes, like introductions by the log-lady.
I am not going to tell you about the series. I AM going to tell you about the “special edition DVD” though. It comes in a cardboard box that you can unfold until you can place/take four discs and a small booklet. The artwork is beautiful. The box comes in a plastic slip with the picture of Laura Palmer and when you take the box out, you get the ‘wrapped in plastic’ look of her. 7 Times 45 minutes. Hell, I will have re-viewed them in a week and then I will have to wait for the second series which aren’t available yet… A Peaks-freaks must-buy!
In spite of the last name, there seems to be no familial relationship to David Lynch and the director. You may know him as an actor though. That said, J.C. Lynch obviously dove into the world of David Lynch for his debut, picking long term Lynch actor Harry Dean Stanton for the leading part and David himself as an actor too!
Stanton is one of the actors who passed shortly after the finishing of the third season of Twin Peaks, age 91. In that last year he also managed to play Lucky.
Lucky is an old man living in a remote, Southern American desert village. He is a sight in his little town, walking around with his cowboy hat. In the film we see Lucky talking about life, his fear of dying, but mostly, we see a charming old man going through his daily routine.
“Lucky” is a slow, minimalist, slightly melancholic and beautiful drama.
Rest in peace, Harry.
I found this film when I was checking what else directors of the original “Twin Peaks” series have made. Keanu Reeves and Tim Hopper’s names further caught my attention. “River’s Edge” is one of Reeves’ first full-length films.
The film follows some troublesome kids in a small community. When one kills a class-mate, the group is tossed between loyalty to friends and the memory of the class-mate.
Hunter made an alright film about youngsters who care little about what their parents think, but who eventually have to ‘give in to real life’.
I was looking for new series and ran into IMDb’s highest rated series list. Utopia is good for an 8.5. The series seem to be ended (I find running series often vastly overrated) and there are only two seasons (I am no fond of many-season-series). The box promises “[…] a riotous fusion of Twin Peaks, No Country For Old Men and The Killing”. That is bound to be untrue, but I got myself the two season box anyway.
The two seasons tell a continuous story (and has a end that would make a step to a new season very easy), but on the other hand, they tell two stories as well. We start following a few internet geeks who stumble upon a big conspiracy surrounding a “graphic novel”. They meet up and set out to find the book that will answer all their questions. In doing so, Becky, Ian, Wilson and Grant run in something much bigger than they anticipated. Followed by two cold blooded killers and finding the person that everybody seems to be after, “Utopia” develops into a descent thriller series with thick Welsh accents, black humour, extreme and bloody violence. They find their “graphic novel” and loose it again.
Season two starts with some ‘prequel’ scenes, but quickly jumps a bit ahead in time when the issue that seemed to be solved in season one, pops up again, but worse than ever. The characters are shuffled around a bit making season two another nice watch.
I can understand the reference to No Country For Old Men, but I do not know The Killing, but Twin Peaks?? Or “a brain-bender of a show”? That is a bit too much credit in my opinion and both references seem to imply that Utopia is somehow strange or ‘difficult’, but in comparison to modern cinema and especially in comparison to Twin Peaks that is not really the case. I think the series are better compared to some work of Quentin Tarantino or (indeed) the Coen brothers, especially because of the suddent and very violent outbursts, icecold characters and weird dialogues. There is also some funny camera work and (as the box suggests) nice use of colours, probably to give the series a bit of a ‘comic-feeling’.
The series do have a very, very heavy message. The conspiracy is certainly not one of the corny ‘good vs bad’ plots in which you do not have to think whose side you are on. This may perhaps be the best part of the series.
I might not find Utopia brilliant and the 8.5 on IMDb is a bit overrated, but not that much really. I would still give it something just below 8.0 which is really not bad for a contemporary series and higher than I rated Fargo actually, which I also liked.
Curious if ‘Lynch jr.’s debut is as bad as everybody says, I set out to find “Boxing Helena”. Funny that just as with the Cronenbergs, also the Lynches exchange actresses. Helena from the title is a very nice part of Sherilyn Fenn and her role is something of an extension of her role as Audrey Horne in Twin Peaks. Again Fenn is a beautiful and overly self-confident woman winding men around her finger. As the successfull surgeon Nick Cavanaugh moves back to his home village, his obsession with Helena reemerges. Cavanaugh is played by Julian Sands and Sands is absolutely horrible. He is more like an adolescent and he is completely annoying. Were is not for Fenn, the film should definately get the 4,2 that is has on IMdB. Overall the film is not that bad. Cavanaugh’s obsession goes to extremes when he gets the change to get Helena into his house and this develops nicely, but then comes a terrible end. Indeed, “Boxing Helena” is not a good film. It is not terrible either, but Lynch certainly missed a couple of opportunities to make the film a lot better.
‘Where am I?’ – ‘In the village.’
‘What do you want?’ – ‘We want information.’
‘Whose side are you on?’ – ‘That would be telling.’
‘We want information. Information, information’
‘You won’t get it!’
‘By hook or by crook, we will’
‘Who are you?’ – ‘I’m the new Number Two.’
‘Who is Number One?’ – ‘You are Number Six’
‘I am not a number. I am a free man!’
The Prisoner TV series are so old that you have to look for people to remember them. The series was first broadcasted in 1967 en 1968. In came in a flood of secret agent series such as The Saint or The Avengers and after Danger Man in which Patrick McGoohan also played a very special secret agent. Apparently McGoohan wanted something more, since he is not only one of the inventors, but also a director for the series (the last episode, the strangest of them all). I never really knew about the series even though it was smacked around my ears constantly. The “The Girl Who Was… Death” cd of Devil Doll is one big The Prisoner ode and this was even mentioned to me once. Colleagues mentioned it and eventually Collin Cleary wrote a lengthy review of the series in Tyr journal volume one of 2002 that I only got this year. That was the limit, I started to look around and bought myself the series. You can get a pretty expensive American box, an also pretty expensive UK box and the also pretty expensive separate five DVDs. The first four DVDs (I got the separate ones) contain four episodes each, the last DVD the last episode, an alternative version of another episode, a documentary and some other things. The other DVDs have some extras as well.
To the series then. Patrick McGoohan is a nameless secret agent who resigns. This is shown at the beginning of every episode. Because of his resignation, McGoohan is kidnapped and brought to “The Village”, a community seemly with the only purpose to get information from people (mostly secret agents who resigned). In The Village people have no names, but numbers. Number 2 is the outwardly leader of The Village and a new number 2 appears in (almost) every episode. The Prisoner is number 6. In every episode the leader of The Village comes up with a new way of trying to get “the priceless information” from number 6’s head. This mostly involves psychological experiments involving futuristic machines, drugs, hypnosis, etc. This results in marvelously weird situations in which number six always comes out as ‘the winner’. Therefor in the end, he is granted “the gift of individuality”.
In the series you can clearly see some critical views on modern society, democracy and science. Cleary has written magnificently about various elements in The Prisoner. There are -by the way- many strange elements to the series, such as a big white ball that comes out of the sea to punish people, the fact that you never get to know “who are the prisoners and who are the warders”, the strange machine in the control room, the eye-like cameras, weird characters, etc., etc. I think for these things the series have been seen as The X-Files and Twin Peaks of earlier decades. I don’t really agree with this, because The Prisoner is quite different from either series. The strange elements and sometimes the atmosphere (and characters) may remind especially of David Lynch’s masterpiece, but The Prisoner looks much more like James Bond to me than like Twin Peaks.
In any case. Even though the series are considerably older than myself, they are in colour and look “fresh as ever”. They are wonderfully shot, didn’t get oldfashioned and still highly enjoyable today. It is a series that make you think, “what do they mean”, “who is number 1”, “why doesn’t he just…”. They got a great sense of humour, recognisable situations, but also completely over-the-top scenes, philosophy and action. You can lend it to you parents who may watch it as James Bond, you can discuss it with your friends or on the many internet sites dedicated to The Prisoner. It seems that after the DVD release the popularity is raising a little and not without reason. The Prisoner is a magnificent, 17 times 50 minutes of TV. In my opinion maybe not as good as Twin Peaks, but probably a very agreeable second personal place in TV history. Buy and enjoy!
Is has been a long wait since Lynch’s last ‘Lynch film’ “Lost Highway” (1997) which is one of my all-time favourites. Two years ago there was Lynch’s one ‘normal’ film called “The Straigth Story” and then it was as usual quiet for a few years around mister Lynch on the film field. He probably worked on other projects on the field of sculpting, painting, music or something else.
“Mulholland Dr.” had it’s official Dutch premiere at the filmfestival of Rotterdam two weeks ago, and it has played in two cinemas before the ‘public premiere’ the day before yesterday. Also the German version has been playing in Germany for about a month now, which is pretty strange. Rather sad is that this film was supposed to be another TV series, but the producers thought that it was better to cut it to a film, which eventually came to last 2,5 hours. The open end can suggest that Lynch wants to keep the possibility for a series open…
Anyway, in more than one aspect, “Mulholland Dr.” is like “Lost Highway”, especially in the beginning. The way of acting, two of the same kinds of policemen. Furtheron there is another ‘mystery man’, changing characters/ personalities and the not knowing whether what you see is ‘real’, dreams, visions, flashbacks or whatever.
Where “Lost Highway” had mainly two different stories that can be either told after eachother or synchronous, “Mulholland Dr.” has more different stories that are either or not told throughout the whole film, either or not have something to do with eachother or again, either or not to have happened after eachother or at the same time.
The film starts with a scene in which Camilla Rhodes/Rita (Laura Harring) sits in the back of a limo (that seems to have a special significance in the film) and when the driver stops to have her shot, the limo is ran into by a racing car full of teenagers. Camilla staggers out of the limo and towards the lights of the city, where she eventually ends up in the empty appartment that will be inhabited by the beautiful, but dumb Betty Elms (Naomi Watts).
In the beginning there isn’t anything really ‘wrong’. Stories about two guys telling eachother about the accident, one killing the other in a brilliant and violent scene. The two women meeting in the appartment, becoming friends and trying to find out who Rita really is and eventually falling in love with eachother. Then there is a story about the young and hot director Adam Kesher (Justin Theroux) who sees his latest project falling into the hands of a rich Italian and loosing his sayso about the main character in his own movie. Angry as he gets he drives home where he finds his wife in bed with the pool-cleaner (another great scene) and flees to a cheap motel downtown. A guy with a disturbing nightmare. Etcetera.
After this things get more confusing. Rita is also a body that the two women find, but this body is also Betty who seems to have gone mad when Rita dumped her in favour of the film-director. The transition to this part of the film comes in typical and extremely dark and impressive Lynch scenes with disturbing events, vague camera-work, dark sounds and strange images.
These lines can only tell a glimpse of what is really there. I have seen “Mulholland Dr.” once now and I think that just as with “Lost Highway” it will take a view or four before some things will be clear and links seen. Also just as “Lost Highway” there is no easy ‘solution’ for the impossibilities in the stories and again the film is not made to be understood or correct.
I wonder -therefor- why “Lost Highway” was slain by the press and called “an ununderstandable monstrosity” while “Mulholland Dr.” gets only raving reviews.
My one opinion for the time being? A bit too much like what Lynch already did. There is a bit too much “Lost Highway” and even Twin Peaks with Michael J. Andersson as a strange character in a room with curtains against the walls (he was the dwarve in Twin Peaks’ Red Room). Still, “Mulholland Dr.” is visually impressive and with a magnificent dark atmosphere like only David Lynch can make it. Just go and see it a couple of times.
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So yesterday I went back to the cinema to see it again. Amazing, “Mulholland Drive” has been shown for a month and still it is sold out almost every single time!
Did I see anything new watching it for the second time? Only small things it seems. Some people come back on a few moments in the film which made me feel like the story of Rita ending up in Betty’s appartment is part of the ‘real story’, also that Betty falls in love with Rita/Camilla, and Rita with Adam the director. Betty can’t cope with that and goes crazy. A large part of the film seems to be Betty’s visions/nightmare in which characters play that she saw in her ‘real life’ at one point or another. The scene in which Rita and Adam say there are getting married would then be a ‘real scene’, the one in which the two women find the body a ‘dreamt scene’. But of course things are not so easy with Lynch.
Rita/Camilla appears to be an actress who would play the main character in Adam Kesher’s latest film. Somehow some rich Italian brothers take over the finances and therefor sayso about the film and they try to kill Rita (opening scene) and replace here by Betty who at one point also seems to be Camilla Rhodes (the scene in which Betty accidentally ends up on the set of Kesher). I don’t know the relation between the Castigliane brothers and Kesher and/or Betty, but there are on Kesher’s party while first they had the biggest fight. The limo still seems to be of special significance, but I don’t know what. It is the limo in which Rita/Camilla has her accident, but also the limo of the Castigliane brothers (this could be, since they probably wanted Rita dead) and the limo that picks up the hysterically laughing old people.
Betty ‘becomes’ Diane Selwyn in the end, who is the dead body and apparently a friend of Rita/Camilla and it is also Diane who goes nuts after being put aside by Rita, so is the Betty story a dream or the Diane story?
Also it is strange that the Cowboy says to Adam that if he does right (by choosing Camilla Rhodes as lead actress which is Betty on the photo) he would see him only once, and if he does wrong, he would see him twice. The Cowboy appears in the film twice more, but Adam did choose Camilla. One time the Cowboy turns up in Betty’s appartment (who just turned into Diane) and there is no Adam present. Hmmm.
Stylistically then. I remember being highly impressed by certain scenes the first time I saw the film, yesterday I was looking forward to the “theatre of illusions”-scene, but I don’t know what I was so impressed by the first time! It is only at a few moments that things get rather dark. Maybe I was watching details too much?
Still too many questions. What is the meaning of the scene of the hitman shooting a friend for a blackbook with numbers? Who is the Twin Peaks dwarf exactly? He seems to be a powerfull being having control over the filmindustry and it seems that he wanted Rita dead and Betty as main character, but what are all these other people have to do with him? He probably represents a dreamstate again, like in Twin Peaks.
The hitman is later hired by Betty to kill Rita, but the blue key telling that things have been taken care off, appears in the film earlier.
And what are that blue box and the monster?
It almost seems like Lynch wanted to keep leads open for in case it is allowed to make the series of Mulholland Drive like he wanted. I sure hope so!