Twin Peaks: Fire Walk with Me

Like several Lynch movies, this was vastly underrated upon release. Mostly, it continues to be. Like BLUE VELVET (1986), a question overhanging any analysis concerns the relation between ontological and psychoanalytic interpretations: in this case, this question is specifically about the meaning of “electricity”. Superb imagery, sound, editing, performances and writing, building to an affecting denouement. A huge burden of responsibility fell upon the shoulders of the relatively inexperienced Sheryl Lee, and she threw herself into the role completely, for which she deserves sincere appreciation and congratulation. The use of Riccardo Muti’s recording of “Agnus Dei” from Cherubini’s “Requiem in C minor” during the must crucial moments: beyond words.

I watched this in 1992 at a cinema (where, if at all possible, it should first be seen) that was almost if not completely empty: I knew back then all the idiot critics were wrong. As an example, here is Geoff Andrew, a fine critic when he’s writing on Abbas Kiarostami, in Pym (2010), p. 1122:

“The whole thing looks like off-cuts from the series that were eliminated because they were either too nasty or too inept. Moreover, the cast consists largely of the series’ weakest performers (Lee, particularly, as Laura Palmer, proves she can’t carry a movie). Self-parody would seem too generous an assessment of Lynch’s aims and achievement.”