8:2 – A call to Phillip

Try as I might I've not managed to find a still of Ray calling Phillip on the phone to use as the header image for this post, so you'll have to settle for this shot of Ray from the previous scene. Ray's (George Griffith) voice opens the next, brief scene, as he places a phone … Continue reading 8:2 – A call to Phillip

8:1.2 – Intervention

Angelo Badalamenti's music changes to something altogether more bizarre; a hesitant, jumping piece of music that lilts and bobs as events grow increasingly off-kilter for Ray (George Griffith). Ray looks up and sees a number of Dirty Bearded Men coming toward them through the sparse woodland and shrub of the desert. They're only really visible … Continue reading 8:1.2 – Intervention

8:1 – Night drive

Part 8 is a very special installment of The Return. A detour, if you will, into the past, and into Lynch's more personal, artistic and fascinating approach to exposition. Appropriately, the scenes set in the present all take place at night, giving the hour the feel of something illicit and also, of course, dreamlike. The … Continue reading 8:1 – Night drive

7:17 – Freedom

Back at Yankton Federal Prison and we're on the block at night. You'd be forgiven for thinking that Lynch has switched to black and white, the scene is so monochromatic and this assumption would prefigure a large portion of the material to be witnessed in Part 8. A guard with a flashlight appears at the … Continue reading 7:17 – Freedom

2:4 – Need vs want

During the initial run of Twin Peaks, it was common for the show to take occasional pauses to evoke a certain mood or feeling, be it through lingering shots of the wind in those Douglas Firs, or the popular and fondly remembered hanging stop light at the intersection of Sparkwood and 21. That stoplight often had … Continue reading 2:4 – Need vs want

1:6 – A world of truck drivers

Boom... Bap... Boom-Bap... The sound you are hearing as the scene opens is David Lynch's own remix of "American Woman" by Muddy Magnolias. It is pointedly the loudest element so far in the sound mix (something Lynch himself is acutely involved in). The stark beats are an eerie counterpoint to the visuals. Another of Lynch's … Continue reading 1:6 – A world of truck drivers