While investigating the mysterious death of a nightshift waitress, Special Agent’s Chester Desmond and Dale Cooper unravel the bizarre clues, mysterious disappearances, and strange happenings that lead to the last seven days of Laura Palmer’s troubled life and ultimately the killer.
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A semiotic-thriller becomes a narcoleptic dream-noir. There is no pre-tense for reality waking reality simply becomes your most permissible fantasy space desires confronted with the paternal a second pre-conception where you either come out dead or alive. if you have the opportunity of a sexual satisfaction within the limits of what is permissible take it. The story of Laura is the failure to bring her back to life.
Couldn't enjoy much. Lynch does more intoxicating work when Frost co-writes. Concerning FWWM, there's no normality to anchor Lynch's proclivities, to relieve the onslaught of his total vision of life as nightmare. The film cudgels you w/ suffering until one is finally numb 2 the effect. DL is at times immensely talented, while also childish, conservative, & intermittently uninterested in effective scene construction.
Grandrieux owes much to Lynch, but this film specifically. It is the closest Lynch ever got to embodying his idol, Francis Bacon. It is a nightmare. A spider's egg. It hatches under closed eyelids, projected on to the walls. Even though I only saw Twin Peaks: Fire Walk with Me recently, I also feel my cinema is in a debt to the images and sounds in this stabbing, this murder of a film.
The Passion of Laura Palmer. Over the course of 2 seasons, audiences watched as the picturesque town of Twin Peaks lost its innocence. Perhaps sensing that there was no way to return to that edenic state, David Lynch utilized this prequel to deliver a pitch-black, cocaine-fueled ride to hell. As the film opens, Laura Palmer may have a week to live but we sense that, in every sense of the word, she's already gone.
A disappointment on release after the mesmerizing series as fans expected answers but only received more mysteries and questions. Almost 25 years later, and on the verge of the series revival, the film stands as a surrealist gem that plays with audience expectations and desires. Almost comedic at times but with a bitter tragic filling. Well worth rediscovery.
I found the Teresa Banks prologue a failure mostly, the tone is just too cartoonish even for Lynch's standards, but the Sarah Palmer episode is a real chiller, it is terrifying, sexy and very trippy. When asked about this film, the late Jacques Rivette said that it left him hallucinating, he didn't know what the hell was that all about, but felt he was floating aferwards. A very accurate description.
So criminally panned when it first came out that hyperbole sometimes seems like the best defense, FWWM is actually something of a mixed bag. Some of the surreal setpieces show such little control over their own atmosphere that I had to wonder if the flatness was intentional. But whenever it zooms in on Sheryl Lee in just the right way, it becomes a powerfully frightening look at abuse and its consequences.
Works fine as a prelude (a sequel would probably ruin it, although lots of misteries remained unsolved). Laura's a really fucked up/complex soul and dedicating a whole film to her was pretty amazing - specially considering the tour-de-force performance by Sheryl Lee. Also, this is typically Lynch: inconclusive, disturbing and atmospherically astonishing. Tbh, I'm unable to dislike anything related to that tv show.