Huh.
Hmmn.
Well.
Ok, not me. Good movie, but not me. Not really, anyhow.
Well…
It reminded me of Serial Experiments Lain. One would almost think that the people who made Lain must have seen this movie and understood some of it’s most… subconscious aspects. Note the power line images, the phone line images, and the foreign buzzing they give off. Like in Lain, in TP: FWWM, the electric grid and it’s presence becomes a character in an of itself, not unlike the hotel in The Shining. Really fascinating.
Laura Palmer obviously suffered from multiple personality disorder, but you would need to have been blind to not notice that. Lynch make this extremely obvious- the white flashes of light she sees from time to time are her personality switches (and, perhaps, something else, but I might or might not get to that, here). To really make it easy for the viewer, she even asks out loud to noone else in particular “Who are you, really?” (or something like that) while seeing / experiencing such a flash. Obvious.
Interestingly, former flame / fantasy (?) Miora Kelly was in this movie. Did not expect that. I got into her after seeing Cutting Edge on TV. I always did have a thing for figure skaters.
This was of course well after TP: FWWM was made, so the fact the she made out with a guy named “Tommy” is purely co-incidental. I think. I mean, this flick was made when I was like 11, lol. And uh… yeah. Weird. In this case “Tommy” was a real sleazeball who hung out with his friend “Buck”. “Buck” hired one of our heroine’s hooker personalities to have sex with her. His name’s symbolism is obvious, Tommy’s not so much, but I do know he isn’t me, at least.
Note that this is unlike the “Tom” in The Straight Story, who was clearly inserted in the film to point directly at me, since virtually that entire film was ripped, unfiltered, from my subconscious mind. So I guess this is more like our little musical wizard friend “Little Donny” from Blue Velvet– who just co-incidentally, as well, was kinda-sorta like me, -ish.
I don’t know, this stuff is profoundly strange. The scene with “Tommy” involves him making out with and ultimately seducing Kelly’s underage character Donna and getting her to take her top off in some seedy club with loud, dissociative music blaring. It’s this music, and I guess the whole situation, that forces a switch in Laura, who realizes suddenly who she is and what she is doing. She then grabs her friend and leaves, thank god.
But yeah, weird. The whole movie is hard to understand, but little clues are placed here and there, mostly involving the dissociative effect that the electronic grid can have on people. Then there is the incest, the murders, the drug abuse, the demonic possession, and the rest of the heavy stuff, as if multiple personalities and prostitution just wasn’t enough, lol.
But yeah… weird. Really really weird. There is a whole subplot here in this film about a slip of paper with a “T” on it that may or not be a wink and a nod towards another girl, a victim, having been microchipped and then “followed” somehow, perhaps electronically. A “T” also appears on the jacket of an asshole drug dealer named “Bobby”. Not “Bob”, that’s the demon, who possessed the rapist father. “Bobby”. Bobby, with the T. Not Tommy, Bobby.
Huh… weird. Really really weird. For some more Twilight-Zone level weirdness, Laura said in this film that “Bob”- her father’s demonically possessed alter ego- has been visiting (raping) her since she was 12.
I noted this age since after releasing TP: FWWM, Lynch released an HBO special called Hotel Room that also mentioned a 12 year old- a mention that I took note of when I was again hunting for clues about my own past. In that case, it was a 12 year old boy; the protagonist in the first episode of that special was recounting his own past to another of his personalities in this weird hotel room and he spoke of riding on his bike around the neighborhood and dreaming about touching a girl’s breast and other stuff, etc. and this was all mentioned I think slightly before or after talk about him seeing endless corn fields in Iowa, and other stuff… which, IDK. Weird, really really weird. Hotel Room was released in 1993. I was probably 12 when it was made. It’s just like… what? Was this Straight Story foreshadowing? But that film was ripped from my own subconscious… weird. IDK. And yeah I used to ride my bike around the neighborhood like he did, etc.
I… don’t know. There can’t be a connection, here, right? I don’t know, it just seems so bizarre and implausible. I was of course a victim of a lot of sexual abuse in my childhood. It’s very possible that this caused my initial splits, IDK. Some of it was I think from my family, other episodes were from the neighbors, etc.
What the fuck is even going on, here? I mean, am I just crazy or what? I mean, both Mulholland Drive and Lost Highway are very obviously me. I mean there’s so much “me” in these flicks that to even list all the stuff that’s “me” in them would take pages upon pages. But suffice it to say that there’s a reason the important key in Mulholland Drive looks identical to the key I used at the time to enter my dorm room in college. The key itself is the key. Get it?
Mulholland Drive is based on my own fantasies of Hollywood, back then.
I mean, yadda yadda.
But seriously, what the fuck is going on, here?
Is it presumptuous of me to see so much of myself in the school scenes with Laura or what? I mean, that stuff was beyond common back then right?
Oy, this is nuts. I don’t know.
I mean, I have an idea, but it involves stuff that I can hardly believe could be true. I don’t know.
I need to think, maybe.
Yikes.
What the fuck?
