Episode 3

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LostInTheMovies
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Episode 3

Postby LostInTheMovies » Fri Apr 10, 2015 10:34 pm

Let's talk Laura's funeral, the first (non-credits) clips from Invitation to Love, Maddy's debut, the birth of the Bookhouse Boys, and whatever else you want to analyze, discuss, or criticize from this episode.
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Jonatan Silva
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Re: Episode 3

Postby Jonatan Silva » Tue Apr 21, 2015 6:54 am

The first time I watched the funeral I though that there would be any clues in this part. After Johnny's "amen screamings" I expected some things that would throw questions to be answered in the following episoded however the real relation between Johnny and Laura was never revealed. In my opinio this is one of the questions to be survived on season 3 - if it really comes along.
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Re: Episode 3

Postby TwinPeaksFanatic » Wed Aug 12, 2015 6:37 am

I love this episode. I think it's mostly on the lighter side, but it really sets the stage for the darker parts of the series to emerge. I wrote a recap for the episode here --->

http://twinpeaksfanatic.blogspot.com/20 ... ode-3.html

:D
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LostInTheMovies
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Twin Peaks Out of Order #13: Episode 3

Postby LostInTheMovies » Sun Oct 18, 2015 2:48 pm

Re-watching Twin Peaks from my least favorite to favorite episode...

Previously: Episode 10 (http://www.dugpa.com/forum/viewtopic.php?p=43828#p43828)

Laura's funeral used to be my least favorite episode of season one. On my second watch-through, when I wrote an episode guide for the series, I found it to be a letdown after the Lynchian heights of the previous chapter, a bit too talky and even by early Twin Peaks' glacial standard rather ponderous. Tina Rathborne has an unusual touch, one of the most distinctive among the show's directors. It's hard to pinpoint exactly what she's doing or why she's doing it, an ambiance that didn’t help in her only other episode, Leland’s wake. Here, however, her style has grown on me and if I don't quite rank episode 3 as highly as some, I’ve come to really appreciate its unique flavor and mood. The visuals are quite lush - think of that dissolve from the waterfall to Audrey in her deep red sweater with the soft morning haze filtering through the windows in the Great Northern (much more evocative than Duwayne Dunham's lighting a few episodes back). Or Dr. Jacoby tiptoeing up to Laura's grave in his Victorian cloak, presenting flowers in the evening mist - about as Romantic and Gothic an image as the show ever provided. Yanked out of context (after one of the show's highest achievements and before the investigative momentum gets going), the funeral episode has something very unique and valuable to offer: a real sense of what Laura's death - and life - means to the townspeople, consciously and subconsciously. In fact, I might argue that 3 - more than any other episode - would make an interesting double/triple feature with Fire Walk With Me and especially The Missing Pieces. Whereas the pilot treats Laura's murder as an unknowable mystery, episode 3 suggests that her cause of death may be all too knowable, and that this feeling of guilt intermingled with grief is a cancer eating away at the whole community. Several scenes establish that the killer always had to be Leland, even as everyone - the town, the audience, even the episode’s writer and director - remains blinkered about his culpability. Every action, every gesture, carries a double meaning, conveying a sincere, sorrowful love for his daughter as well as an overpowering, oppressive sense of neediness. Whether colliding with his daughter's coffin - a refusal to give her space even in death, grasping at strangers on the dance floor and demanding that they comfort him, or drugging himself in front of a flattering soap opera fantasy (in which it is the father who is going to die for his daughter's sake!) all of Leland's actions seem reasonable, even pitiable, for a grieving father, but they are also entirely consistent with a manipulative, deluded abuser. There is no Bob in this episode - he'll be back soon enough; nonetheless we have seen the killer, and he’s crying.

Next: Episode 7 (http://www.dugpa.com/forum/viewtopic.php?p=43864#p43864)
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David Locke
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Re: Episode 3

Postby David Locke » Sun Mar 13, 2016 5:42 pm

I think this episode is rather underrated, and it might actually be my favorite of the season after Lynch's two contributions. You'd never know it from looking at her other Peaks episode, but Rathborne does a superb job directing this episode and giving it an evocative touch. A great example, as LITM cites above, is the dreamy dissolve at the start of the hour from the waterfall to Audrey. Just a lot of stuff to love here -- I think it's one of the best examples of the show chugging along, sans Lynch, keeping our interest and hewing to the house style very nicely.
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Dead Dog
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Re: Episode 3

Postby Dead Dog » Sat Oct 08, 2016 7:15 am

I, too, think this is an underappreciated episode. I'm now rewatching the series for the 7th or 8th time, and with each viewing this entry stands out a little more. The cinematography is particularly strong (as far as non-Lynch directed episodes go) and the funeral scene and Bookhouse Boys introduction are two of my favorite scenes in the entire series. Tina Rathborne may not have a long resume, but her work here will always have a place in my heart.
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Re: Episode 3

Postby Jerry Horne » Mon Jan 16, 2017 1:52 am

Harley Peyton recently posted this:
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Snailhead
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Re: Episode 3

Postby Snailhead » Mon Jan 16, 2017 5:34 pm

I'll echo sentiments that this episode is overlooked. It's definitely in the top tier of season 1 - along with the entries from Lynch, Deschanel, and Linka Glatter.
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Gabriel
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Re: Episode 3

Postby Gabriel » Fri Feb 24, 2017 2:11 pm

I just watched this one. Hmmm... a mixed bag.

As an editor, the slow-mo opening and a few other patches in the episode made me think 'Hey ho! This episode's running short, so they needed some filler.'

What I really noticed was how the cinematographer, Frank Byers, had to struggle with the location work. Moody, dreary weather shots of trees blowing in the wind clash with brightly lit, sun-drenched exteriors for Laura's funeral. The more I watch, the more I wish the show had been shot in Vancouver rather than LA. It's all too bright. I really miss the look Ron Garcia brought to the pilot and FWWM. Back then, they didn't have access to the colour grading tools they have now and, without wanting to sound all George Lucas, I actually find myself wishing they'd aggressively regraded the episodes for HD. It feels like they've jumped from winter to midsummer in the space of a couple of days.

The best thing in the episode, for me, was Bobby's impassioned speech at the funeral. It defined what Twin Peaks still was back then and ceased to be in season two; that everyone knew Laura was troubled, that the whole town effectively killed Laura, that the town itself is rife with corruption. It was the rage of someone who had been corrupted by Laura, almost infected by a disease of corruption carried by Laura and spread to those around her. The more I watch the show, the more I see Bobby as a tragic figure. Laura had wrapped him around her little finger and played him. The fact he eventually goes to work for Ben, dedicates himself to Shelly one hundred per cent and is good at his job speaks volumes for what happens to a person when someone or something poisonous is removed from their life.

The revelation about the Bookhouse Boys' secret society only confirms that dark underbelly. If the good men of Twin Peaks are forced to operate in a clandestine extra-legal organisation, then the bad men must be even more deeply embedded in the town.

Otherwise, the funeral scene was less effective than I remembered it being. Apart from the now-clichéd overhead shot, there were too many close ups and a lack of 'geography' of where everyone was standing. It felt like the close ups could all have been shot at different times and not everybody was there at the same time. A funeral is a deeply emotional moment and no shot of a character really felt 'connected' to a shot of another character. It was a case where widescreen would have helped connect everything.

In terms of hints about Leland, I also noted Sarah begging the ascending and descending Leland not ruin this too. What else had he ruined? Their life as a family where he's clearly shown as a psychopath in FWWM?

So a mixed bag. Some great script and story moments in the episode, some 'world-building' that I'm not sure was properly followed up on and some indifferent direction. Not awful, but in this episode, I felt I was watching a show made in California and it never convinced me that it was set in the Pacific Northwest.
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Jonah
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Re: Episode 3

Postby Jonah » Sun Jun 18, 2017 5:57 am

Have rewatched all of Season 1 now. I rewatched the Pilot and Episodes 1 & 2 more slowly, but sort of gulped Episodes 3 through 7 and they sort of flew together for me - i.e., I just kept watching as I was so enjoying them that I didn't take time to analyse each episode individually, so just flicking back through now to note a few observations of what did stand out in this episode:

Cooper seems very flirtatious with Audrey in the opening scene!

Interesting - as has been observed - how Cooper lays out his dream to Harry and Lucy as being the entire European ending to the pilot, rather than what we actually saw. So, yes, I too wonder was the whole original European ending meant to go into the end of Episode 2 when the script for this episode was written.

Albert is great!

Maddy's introduction is also great, nicely framed by the shot of "Invitation to Love".

I feel sorry for Nadine here.

And I sort of admire Bobby for calling everyone out on their hypocrisy, even though he's not really one to talk as he didn't try to help her either. I think he acknowledges that too.

Norma's scenes involving Hank are quite poignant and I think Peggy Lipton does a great job with them.

Wonderful scene in the Double R with Harry, Hawk, Big Ed, and Cooper. Love the introduction of the Bookhouse Boys.

Is this the first time we see Jacques Renault? So we never actually see him tending bar at the Roadhouse until FWWM, do we? (And of course now again in the new series as a new character).

I love the scene with Josie and Harry, sort of harkens back almost to the pilot episode.

Great shot of the moon. In subsequent episodes, it will look less real. Hawk/Cooper having a beer and discussing the soul is a beautiful scene and a precursor to a scene later in the series of the two of them sharing a beer. It was nice to see them helping Leland.

Episode closes with shot of light at Sparkwood and 21.
Actually, now that some time has passed, I like "The full blossom of the evening".

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