Friday, November 16, 2007

Two is the Magic Number

David Lynch won't leave me alone.
I won't leave David Lynch alone.

I have David Lynch's fax number.
I don't have a fax machine.

is my favorite director, but I rarely watch his films more than two or three times.
I have listened to the soundtrack to TWIN PEAKS: FIRE WALK WITH ME more than any other album, by far.

It's no secret that Lynch explores the theme of duality in most, if not all, of his work. Three of his last four features have dealt with duality explicitly, and its no coincidence that his most famous creation is TWIN PEAKS.

A devoted father... who nonetheless made ERASERHEAD the most unsettling ode to fatherhood in history.

An interesting counterpoint (or, more accurately, accent) to Lynch's apparent fascination with both sides of the coin is that he named his production company Asymmetrical, which, to me, says that he doesn't feel that the two sides in most conflicts are necessarily standing on equal footing.

I've had Lynch on the brain for some time now... pretty much ever since the release nearly a year ago of his last feature INLAND EMPIRE. The other day I forwarded reflections of my second viewing of IE and an interesting psychiatric interpretation of IE to a fellow writer and film lover, and this was his response:

Also, I've been having a great time reading about IE, but the more i
read, the less i think i want to see it. It sounds almost painful.

I simultaneously hear what he's saying 100%, and also am saddened by it. It's not that IE is necessarily "good for you" and therefore should be watched, or even that I necessarily love it the most and want to evangelize it from the rooftops.

It's simply that I was affected by it, and for some reason, want to share that.

I loved his willingness to stump for Laura Dern's IE Oscar chances in untraditional fashion.

I wonder what it means that I am so taken in by tales of madness, murder, paranoia and dissociative personalities. I'd like to believe that it's a sane person recognizing the realities and shades of insanity, but who the hell knows. I DO know that I am plagued by many of the same dualistic fears and insecurities that the characters in Lynch's movies face.

I am a success.
I am a disappointment.

Inherently, I am a good person.
Inherently, I am capable of evil.

I am worldly.
I am naïve.

I am in control of my destiny.
My destiny is in control of me.

I "get" David Lynch's movies.
I "don't get" David Lynch's movies.

etc. etc.

All I know, is that the dark and confusing hallways of Lynch's films also exist inside of me, and that is a good thing, and a bad thing.

Why is it that THESE people still resonate with me where other fictional characters are long forgotten?

A footnote, if you will. Piggybacking on the DVD release of TWIN PEAKS: The Definitive Gold Box Edition is the CD release of TWIN PEAKS: All New Season Two Music. This is truly fantastic news for diehard fans (like myself) of the show's soundtrack music as created by Lynch, composer/musician Angelo Badalamenti, and vocalist Julee Cruise. IMHO, the music from TWIN PEAKS is the most evocative, transporting, emotional, moody, tactile music ever created. Adding something new to the canon of two that has existed with no change for 15 years is extraordinary.

I found a user review on that summarized my excitement for this new release in a way I (or I) couldn't say better myself...

By L. R. Grubb "empathy addict" (Philadelphia, PA USA):

A decade and a half after Twin Peaks ended, six long years since I finished watching the show, and here we are. This is music that I have quite simply been yearning for for years. There is something about Twin Peaks that has created a condensed kind of nostalgia for series itself, the time in my life during which I watched it, and the people I watched it with, as well as something more, an unplaceable, deep and vivid longing for something that does not quite exist. Twin Peaks: Season Two Music has landed softly into my current life, not unlike a telegram from my six-years-ago self, and even with such magnificent tracks like Shelly, Audrey's Prayer, Harold's Theme, Josie and Truman, Hook Rug Dance, and Half Heart, I'm left with the sense of an intangible absence, one I suspect will never be filled after living ever so briefly in the staggeringly multidimensional world of Twin Peaks.

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