I absolutely loved the first 20 minutes of Episode 3. Twin Peaks meets Eraserhead. Disorientating, surreal and brain-scrambling. The combination of that weird glitching effect and the incessant thumping on the door was more akin to psychological torture than entertainment, and I had a migraine afterwards, but I was completely transfixed. The Black Lodge was never going to spit Coop back into the real world without a traumatic 'rebirth', but this was something else again. Lynch at his best.
At first, I wasn't convinced by Bad Coop. In his early scenes, he seemed like he'd wandered in from a bad Tarantino movie. Dale Cooper restyled as a badass just wasn't working for me. Then we had that great interview scene with Gordon, Albert and Bad Coop at the end of episode 4. Bad Coop impersonating Good Coop was so unsettling, it was glorious. If I was a sceptic before, I'm a true believer now. Terrifying.
Loved the downbeat scene with Gordon and Albert after the Bad Coop interview. Their mutual realisation that they were way out of their depth in the 'bluest of blue rose cases' was brilliantly done. Note the colour grading of this scene - a blue palette for a blue rose. Masterful.
Not sure I love 'Being There' Coop, but those expecting Coop to segue straight back into his 'smell those Douglas Firs, Diane' good ol' Dale routine are deluded. Not after what he's been though this past quarter of a century. Given the show's premise, his childlike bemusement at the confusing world around him feels believable. This show isn't just about Dale's journey back to Twin Peaks, it's about Dale's journey back to Dale.
So many echoes of past Lynch works here. The box / portal in Manhattan reminded me of the early scenes in Lost Highway (with the mysterious video tapes), and the smashed TV set at the start of FWWM. What are we really watching here, and who is watching us? The slaughter of the distracted young couple, when the demonic entity smashes out of the box, seems to be Lynch's way of telling us to pay strict attention, and be prepared for anything!
The police procedural aspects / murder investigation scenes in Buckhorn, South Dakota remind me of Blue Velvet and Lost Highway, Bill Hastings (a terrific performance by Matthew Lillard, I hope we see much more of him) is as befuddled and bemused as Fred Madison in Lost Highway, a man manipulated by forces beyond his comprehension, but with hints of genuine darkness lurking inside his soul.
I have some sympathy with those who think that the Black Lodge scenes lack a little of the unique texture of their equivalents from the originals, but that black and white scene with the Giant, Coop and the gramophone at the start of Episode 1 blew me away. I also love the 'evolution of the Arm.'
Some of Lynch's compositions in this thing are masterly, he has a painter's eye. The gruesome head / torso scene reminded me of Lucian Freud, and a few of the Lodge scenes have reminded me of another of Lynch's favourite artists, Francis Bacon.
That Sarah Palmer scene, with that insane wildlife tv show, reflected and projected by those mirrors was startling. Like her, we're cast adrift in a theatre of unimaginable cruelty, amplified and distorted by a confusing hall of mirrors.
Lynch's comedic talents are very hit and miss for me, (On the Air was a complete mess, with fleeting moments of inspiration) but I loved the Wally Brando scene. It was patently ridiculous, but weirdly affecting. Any son of Lucy and Andy was going to be an outsider, The Mild One pretending to be The Wild One. So many directors who have aped and appropriated Lynch's style are Wallies in Brando's clothing.
I love the glacial pace of some of the scenes. This is a slow build. It makes the first series of True Detective look like a Guy Ritchie movie, but almost every scene is suffused with dread, sadness, loss or foreboding. Like a rattlesnake slowly uncoiling, this a truly beautiful and menacing beast.
Last edited by EwanM
on Tue May 23, 2017 10:26 am, edited 3 times in total.