This is the fourth entry in 5 Weeks of Fire Walk With Me. Next week I will conclude this series by interviewing Lindsay Hallam, author of a book about the film in the Devil's Advocate series.
Sixteen and a half episodes into Showtime's revival of
Twin Peaks, FBI Agent Dale Cooper (Kyle MacLachlan) - the unquestioned (if multifaceted) hero of this series, as well as the old one (two seasons, 1990-91) - is speaking to a character who never appeared in the old show yet whose familiarity is taken for granted. Portrayed by a monstrous steam-spewing machine, and articulated by voice actor Nathan Frizzell, yet visualized in flashback as none other than late pop legend David Bowie, this "Phillip Jeffries" is sending Cooper back to a particular date: February 23, 1989. Cooper's one-armed companion (Al Strobel, Jr.) intones, "Eeee-lec-tric-ity..." - a curious motif for anyone who came to this decades-delayed third season after close study of seasons one and two (in the old series owls, not electrical currents, were the harbingers of spiritual energy between two worlds).
And then our protagonist closes his eyes as the camera pushes toward him, a whoosing sound filling the soundtrack before we realize it belongs to a ceiling fan. Another sound emerges - a motorcycle - and we are faced with perhaps the most important, if infrequently-glimpsed, location in this two-part finale, perhaps in the whole series. It is, we have previously been told (in parts two and twelve), the Palmer family household even though it's a distinctly different house than the one used in the classic first and second season. And then we see actors: Sheryl Lee, Ray Wise, and James Marshall (as Laura and Leland Palmer and James Hurley, respectively); all have been glimpsed in earlier parts of
The Return but now they look much younger, much younger than CGI or makeup could achieve. What's going on here?
This whole passage - the Bowie-initiated time travel, the view of a tall foreboding "Palmer house" ascending from a sidewalk, the actors who've leapt back in time a quarter-century - represents not only a return to the winter of '89. It is a return to
Twin Peaks: Fire Walk With Me, the controversial 1992 spin-off film that was for years left out of many discussions of
Twin Peaks, often treated as an odd footnote at best and an irrelevant cast-off at worst. This crucial sequence of the "third season" (as Lynch and co-creator Mark Frost call it, though Showtime's designation
The Return remains catchy and telling in its own right) begins with overt references to Lynch's onetime
bete noire and concludes with direct immersion into that very work.
For most of the next five minutes David Lynch (who directed only six episodes of the first two seasons, but all of the third season as well as
Fire Walk With Me) will play footage from his own movie, with color and score extracted and some new shots (along with a few previously unused old ones) sprinkled throughout. Having promised (or warned) viewers before the season's May premiere that his prequel film would be very important to the new work, Lynch certainly delivers. And yet this time, his
Fire Walk With Me ideas are filtered through Frost's own strong vision (rather than reinforced by Robert Engels, co-writer of the film, who came closer to Lynch's own sensibility and was generally more deferential towards him). Frost was not involved at all with the film, but now he has been able to re-interpret its motifs in collaboration with Lynch. How does this impact the prequel project's legacy as well as the new material?
What follows is an exploration of all the
Fire Walk With Me references in
The Return.
