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

7:18 – Billy

Lynch cuts to a night shot of pine trees from above. The shot looks as though it was captured with the use of a drone. We glide over the trees, barely able to make them out in the pitch dark. It's ominous and serene all at once. The dark hum on the soundtrack is replaced … Continue reading 7:18 – Billy

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

7:16 – Green Onions

Now for one of the most notorious scenes of The Return. We cut to the Roadhouse (indicating that this isn't where Part 7 will end, for anyone keeping note of the clock). The place is closed but inside Jean-Michel Renault (Walter Olkewicz) stands behind the bar busy with some endeavour. Booker T and the M.G.'s "Green Onions" … Continue reading 7:16 – Green Onions

7:15 – Beverly at home

A short scene follows which appears to have no relevance to the rest of the season, but adds texture and context to the character of Beverly (Ashley Judd), and that alone excuses its inclusion. Beverly returns home and greets a nurse (Judith Drake) who is leaving. She asks for a report on how 'he' is … Continue reading 7:15 – Beverly at home

7:14 – The hum

The tumbling falls segue us to the interior of the Great Northern Hotel in Twin Peaks. The camera drifts through Beverly's (Ashley Judd) office where a serene ambient hum lingers in the air, seeming to emanate from a corner where a lampshade sits. Beverly and Ben (Richard Beymer) are both listening for the sound; evidently … Continue reading 7:14 – The hum

7:13 – Quick reflexes

Janey-E (Naomi Watts) guides Dougie (Kyle MacLachlan) out into the foyer of the Lucky 7 Insurance building, telling him about her deal with the moneylenders as they exit out into the plaza. As she scolds him for gambling and instructs him not to do it again, Ike 'The Spike' Statdler (Christoph Zajac-Denek) emerges from the … Continue reading 7:13 – Quick reflexes

7:12 – Fuscos

Back in Las Vegas, we return to the offices of Lucky 7 Insurance. Our arrival is signposted by an establishing shot of the statue of a policeman. At the time of writing, the use of our public spaces to lionise individuals with statues has suddenly become quite debatable. Who ought to be memorialised in this … Continue reading 7:12 – Fuscos