Twin Peaks
3.4: ...brings back some memories
(SPOILERS) If anything, the fourth episode goes even goofier than the
third, before sobering up dramatically for the final scene. There’s at least
one innocuous cameo here, Richard Chamberlain pulling the equivalent of George
Hamilton in The Godfather Part III,
but it’s most notable for the arrival of Naomi Watts and Robert Forster, and
the return of Dana Ashbrook and David Duchovny. And… Michael Cera?
Wally: My shadow is always with me. Sometimes
ahead. And sometimes behind. Sometimes to the left. Sometimes to the right.
Except on cloudy days. Or at night.
Maybe the battiest thing in the third season to date, and
that’s saying something, is Cera’s appearance as Wally Brando (born on the same
day as Marlon), Andy and Lucy’s son, his appearance plays like an extended skit,
with Lynch cackling away behind the camera, eager to see how long he can string
it out. You pretty much get the impression that, when Forster’s Sheriff Frank
Truman, Wally’s godfather, turns heel and walks off, Forster really has had enough. Cera’s doing a Brando
shtick, dressed out of The Wild One, announcing
he’s “decided to let them do as they wish
with my childhood bedroom” and waxing philosophical about life on the road.
(He also mentions the Lewis & Clark expedition, which is very significant
to The Secret History of Twin Peaks).
I found it hilarious, but it seems to have provoked the most Marmite reactions
of anything Lynch and Frost have served up so far.
Lady Slot-Addict:
Thank you, Mr Jackpot. Thank you.
Most effortlessly watchable is the continued adventure of Special
Agent Charlie Babbitt, as Cooper finishes up in the casino having scored 29
mega jackpots, giving an old bag lady a few too (“Mr Jackpot, tell me which one”). I love Lynch teasing out scenes in
a complete lack of hurry, such as Brett Gelman’s supervisor handing over the
winnings and giving it the tough guy act (“That’s
right, we’re watching you, Mr Jones”) while having absolutely no idea
what’s going on. And then the reveal that Dougie somehow ended up married to
Naomi Watts (Janey-E Jones), with a son(ny-Jim). By way of an equally baffled
limo driver, prepared to wait outside the house with Cooper… well, forever if
she hadn’t come out.
Janey-E: This is the most wonderful horrible day of
my life.
It’s still unclear what trouble Dougie had got himself into,
but Janey-E knows about it (of the winnings she observes there’s “Enough here to pay them back”), and
she’s obviously used to Dougie being as inept as Coop currently is (the scene
where he learns how to urinate is priceless). There are several cues to his
greater quest (“You were tricked. Now one
of you must die” he is told through the carpet), and there’s a memorable
repeat of the Season Two finale’s mirror scene, but the biggest treat is his reaction
to first pancakes and then coffee – if that won’t bring him back, nothing will
(albeit his not-son is also doing a grand job)!
Back in Twin Peaks, the gag with Lucy and cellular phones
doesn’t quite play, but it’s a good try. The twist with Bobby now being in the
police is a neat one, although again, his breaking down at the sight of Laura’s
photo doesn’t quite deliver (I’ve seen praise for the moment, but it fails to
play as melodramatically as a similar scene would have in the original). Better
is the ignorant deputy having no time for the eccentricities of the town,
including Margaret (“I thought that log
woman was a 10-96 and not even allowed–”; “I’m going to have a word with my pine cone”). And we get
confirmation of more The Secret History
of Twin Peaks information, that Cooper was the last person to see Major
Briggs alive.
Gordon: There is room in this FBI for more than one beautiful
woman.
Denise: That is so sweet.
The FBI side is also kicking into gear, with David
Duchovny’s Denise Bryson – I hope there’s more of her in this, as Duchovny’s
having a ball, and it’s good that Lynch takes to the character, Dennis/Denise
having floated around when he didn’t have much to do with the series and it was
generally at its lowest ebb – clearly aware of Gordon’s/Lynch’s thing for the
ladies and only comfortable sending him off to South Dakota with Agent Preston
when she knows Albert will be chaperoning (given Albert’s reaction to seeing
Preston’s sashaying hips, maybe she shouldn’t have been).
Gordon: Albert, we’re in South Dakota. Cossacks are
in Russia.
Albert: CAR SICK!
I’d been concerned about Ferrer’s ability to pick up Albert again,
but that fades completely here (“We’re
not going anywhere near Mount Rushmore”; “I brought a picture for you”), particularly his delivery on hearing
that evil Cooper’s personal effects consist of cocaine, a machine gun and a dog
leg (“What, no cheese and crackers?”)
The interview with evil Cooper is perfectly off, from the
strained thumbs up to his slurred vocal pitch. But the yarn Cooper spins at
least has a grain of truth; he says he has been working undercover all these
years, primarily with Phillip Jeffrey (and that he’s left messages “so Phillip knows it’s safe”). Albert admits
that, years before, he authorised Coop to give Jeffrey information concerning
the bureau’s man in Colombia, and a week later the man was killed. Lynch and
Ferrer are particularly riveting in this carpark scene – you could hear a pin
drop – Lynch particularly notable for holding his own when generally in the
past he has opted for sendup. Scenes like this emphasise the director’s
masterful sound design; music is remarkably absent from the series, replaced by
an unnerving background hum (the interview scene in particular) or even audible
silence.
Gordon: I hate to admit this, but I don’t understand
this situation at all. Do you understand this situation, Albert?
Albert: No.
Part of the pleasure of this season in its early stages is
teasing expectation; of Cooper reconstituted and reintroduced to old faces, and
of pieces of puzzle proving vital and others proving irrelevant. But so far, Frost
appears to be ensuring Lynch steers a thoroughly engaged ship, and the
consistency of this run is already more marked than even the first season,
albeit as a very different beast. The ending, referencing blue rose, is a nod
to Fire Walk with Me and Cole’s case
categorisations (blue rose cases involve supernatural events, is the
implication, unsurprising then that a big floating Major Briggs head should
have mentioned the phrase in 3.3), but it would appear there’s also a human
personification of this (“I know where
she drinks”). Laura Dern’s character?
Agree? Disagree? Mildly or vehemently? Let me know in the comments below.
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