After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
The body of a young girl (Laura Palmer) is washed up on a beach near the small Washington state town of Twin Peaks. FBI Special Agent Dale Cooper is called in to investigate her strange demise only to uncover a web of mystery that ultimately leads him deep into the heart of the surrounding woodland and his very own soul. Written by
There were plans to spin Sherilyn Fenn's character Audrey Horne off into her own series, that didn't come off. Apparently, Audrey inspired David Lynch for Naomi Watts's character in Mulholland Drive (2001), as Fenn said in an interview in 1997 about the Audrey Horne spin-off, "David was talking about 'Mulholland Drive', he talked about like 'Audrey goes to Hollywood'. She's driving along Mulholland in this convertible car... But it didn't end up happening." See more »
In the first season, Doc Hayward reveals that the blood in the Leo's shirt is a "rare type AB-", and says that this is Jacques Renault's blood type. In the second season premiere, when Albert Rosenfield and Cooper explain Laura's murder, they say that the blood of the killer is "AB-, not of Ronnette, Leo or Jacques". See more »
There are some episodes that don't end with the usual Homecoming Queen photo of Laura Palmer and "Laura Palmer's Theme" in the credits: Episode 2 credits feature the Little Man from Another Place seen from above and dancing. Episode 8 features Gersten Hayward (Alicia Witt) playing the piano. Episode 14 shows Agent Cooper, the red curtains and the song "The World Spins" by Julee Cruise. Episode 18 features Ben Horne's old home movies seen in this same episode. Episode 29 features the coffee cup given to Cooper in the Red Room and Laura's face on it. See more »
A brilliant escape from reality; what TV shows should aspire to be
If you get a chance to watch Twin Peaks now, and I highly recommend that you do, it may seem strange that such a show was ever on TV at all. This is because most of television is so bland and boring and repetitious while TP is fresh and original and effective. And eerily frightening. I have watched the complete series about 3 times, but the first time was the most memorable, as I screened all 29 episodes in around 4 days. I emerged from this trance completely in the show's spell and began to notice pictures of owls and references to coffee with intense interest. The point is the show can take you completely into its reality; part of this relies on the fact that each episode built on the one before it, and it is necessary to see the previous one to make sense of the next. While this might not have been ideal for network ratings, it is perfect for becoming hooked on the entire series. There are great characters sprinkled throughout, my favorites being: Ben and Audrey Horne, Leland Palmer, and of course Coop, but really they're all interesting. BOB is completely frightening, as is the incredibly bleak final episode which is also, in a way, ideal to ensure the series' cult status. Still, the final episode must be appreciated with some distance; it's likely to initially anger a viewer after all that had come before. I think the episodes that Lynch actually directed do stand out as the best. A couple of the subplots in the second season are misjudged, but the finale makes up for them and throws the show back into the hinterlands of TV surrealism. Although parts, and only parts, of the subsequent movie "Fire Walk with Me" are good, the real spirit and brilliance of the show lies within the episodes. Watch them to get a sense of true mystery, and then you can ask,
"Do you see creamed corn on that plate?"
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