(no subject)
Some Twin Peaks 3.6 observations:
Something's being done with endangered sons of clueless or helpless mothers. The boy at the subdivision, the boy who gets hit, Dougie's son, Truman's brother's son who killed himself. (Probably not Wally Brando.)
The aftermath of the boy being hit was quite a bit like the scene with the giant at the bar, the one where Donna bursts into tears without knowing why. The spectacle of pity. There's the same roundup of reactions in the 360 degrees surrounding, the same emphasis on a set of gently but profoundly pitying, too-much-knowing eyes meeting a bewildered and helpless younger set. (I still say Theroux in his first look at Watts in Mulholland is conveying this too, though it's never explained why he would be - for me that's the greatest moment in the movie and probably in Lynch, though Club Silencio is its more obvious revision of the giant scene).
The terrifying and baffling early scenes of the movie are being picked up on, so maybe will soon be (record-breakingly belatedly) explained. Stanton here is much less sinister - more like his Straight Story character - but in Fire Walk With Me the last shot of him has him seeming to look through a wall. Equally inexplicably scary is a nearby phone or electrical pole and its identification number, which are the last thing we see before leaving the Isaak section of the film, and you got the impression that Stanton was somehow looking at that. There's one large number on it, then above that six smaller numbers, and then the camera pans up to where the antennas and transformers and wires branch about, in a way not unlike the weird stuff at the base of the alien-catching glass box.
So anyway, immediately after the boy scene the exact same telephone shot is replayed. Julie says that the style of the big number, the 6, on the pole in that shot is exactly that of the 3 and the 15 in the two big outlet thingies in those places beneath the Lodge. The way the shot travels up the pole is set up a bit like the shot where Stanton's vision tracks the dead boy's escaping fire up into the sky.
When the Christopher Walken-y psycho guy stops to wipe the blood off his grill we see the reflection of another, nearby pole. And the subtitles note that there is an electrical crackle at exactly that point, as though he'd been followed down the road or otherwise found out by something in those wires.
Something's being done with endangered sons of clueless or helpless mothers. The boy at the subdivision, the boy who gets hit, Dougie's son, Truman's brother's son who killed himself. (Probably not Wally Brando.)
The aftermath of the boy being hit was quite a bit like the scene with the giant at the bar, the one where Donna bursts into tears without knowing why. The spectacle of pity. There's the same roundup of reactions in the 360 degrees surrounding, the same emphasis on a set of gently but profoundly pitying, too-much-knowing eyes meeting a bewildered and helpless younger set. (I still say Theroux in his first look at Watts in Mulholland is conveying this too, though it's never explained why he would be - for me that's the greatest moment in the movie and probably in Lynch, though Club Silencio is its more obvious revision of the giant scene).
The terrifying and baffling early scenes of the movie are being picked up on, so maybe will soon be (record-breakingly belatedly) explained. Stanton here is much less sinister - more like his Straight Story character - but in Fire Walk With Me the last shot of him has him seeming to look through a wall. Equally inexplicably scary is a nearby phone or electrical pole and its identification number, which are the last thing we see before leaving the Isaak section of the film, and you got the impression that Stanton was somehow looking at that. There's one large number on it, then above that six smaller numbers, and then the camera pans up to where the antennas and transformers and wires branch about, in a way not unlike the weird stuff at the base of the alien-catching glass box.
So anyway, immediately after the boy scene the exact same telephone shot is replayed. Julie says that the style of the big number, the 6, on the pole in that shot is exactly that of the 3 and the 15 in the two big outlet thingies in those places beneath the Lodge. The way the shot travels up the pole is set up a bit like the shot where Stanton's vision tracks the dead boy's escaping fire up into the sky.
When the Christopher Walken-y psycho guy stops to wipe the blood off his grill we see the reflection of another, nearby pole. And the subtitles note that there is an electrical crackle at exactly that point, as though he'd been followed down the road or otherwise found out by something in those wires.