laboratorio dell’immaginario issn 1826-6118 rivista elettronica http://archiviocav.unibg.it/elephant_castle 30 ANNI DI TWIN PEAKS a cura di Jacopo Bulgarini d’Elci, Jacques Dürrenmatt settembre 2020 CAV - Centro Arti Visive Università degli Studi di Bergamo LUCA MALAVASI “Do you recognize that house?” Twin Peaks: The Return as a process of image identification In the fourth episode of the new season of Twin Peaks (2017), also known as Twin Peaks: The Return, Bobby Briggs – formerly a young loser and wrangler, and now a deputy at the Twin Peaks Sheriff’s Department – meets Laura Palmer, his high school girlfriend. Her photographic portrait, previously displayed among the trophies and other photos in a cabinet at the local high school they attended (we see it at the beginning of the first episode),1 sits on the table of a meeting room. It had been stored in one of the two containers used to hold the official documents in the investigation into Lau- ra’s murder; like two Pandora’s boxes, these containers have been opened following a statement from the Log: “Something is missing”. That ‘something’ – Margaret Lanterman (‘The Log Lady’) clarifies to deputy Hawk – concerns Agent Cooper and, consequently, his investigation into Laura Palmer’s death. The scene is rather moving, not least because, after four episodes, viewers finally hear the famous and touching Laura Palmer’s theme for the first time.2 As the music starts, we see Bobby’s face, having entered the meeting room where Frank Truman, Tommy Hawks, Lucy, and Andy are gathered. He literally freezes in front of Lau- ra’s framed image, and a ‘dialog’ begin between the two ex-lovers; 1 It’s the same portrait showed at the beginning of the first season, actually the portrait of Laura Palmer. 2 Like the rest of the series soundtrack, Laura Palmer’s theme was written by Angelo Badalamenti for the first season, and subsequently used in the second without the addition of any other tracks; Badalamenti composed some new pieces for the third season. 5 Elephant & Castle, n. 23, 30 anni di Twin Peaks, settembre 2020 L. Malavasi - Twin Peaks: The Return as a process of image identification 6 this takes the form of a series of shots and reverse-shots, with the sions should not be read in that way). It is not difficult, however, to camera slowly getting closer. As the music reaches its climax, Bobby see the revelation offered by Laura as a pictorial gesture, a statement bursts into tears, pronouncing the girl’s name (though it sounds like about her own, profound nature. Like the two different Venuses a question) and commenting: “Brings back some memories”. Once that decorate the Black Lodge – one a reproduction of the Venus he has regained control of his emotions, he asks for an explanation, De Medici, the other a reproduction of the Venus de Milo – Laura and Frank Truman informs him of the statement made by the Log. essentially presents herself as an (audiovisual) image. She is made of Later in the same episode, the ‘newborn’ Dougie Jones (spit out light, immaterial yet visible, projected onto the ‘screen’ of the body from an electrical wall socket in the previous episode) studies him- by that inner luminous force, exactly death and alive like it is, in its self in a mirror. This scene – even down to the shooting style – is ontological nature, a statue or a picture, brought back to life by the reminiscent of the final scene of the second season finale, in which gaze and questions of an observer (in this case, Cooper who, almost Dale Cooper mirrors himself in Bob. Of significance here, however, enraptured, spends the entire duration of the dialog intensely con- is the fact that, like an animal, Dougie seems unable to fully recog- templating Laura sitting in front of him). nize himself (his eyes revealing just a hint of a doubt, or a shadow of Along with the two episodes referred to above, the first encounter self-identification), incapable of properly matching the two images. between Dale Cooper and Laura Palmer draws on a theme that He even tries to touch the ‘other’ Dougie in order to understand emerges throughout the series as one of the key visual and criti- that image. cal operations performed by Twin Peaks (conceived as a cinematic These two scenes – drawing on the theme of visual encounter and world and a myth, and not simply as a TV show): far from simply be- recognition, and featuring Laura and Cooper, two of the main char- ing a ‘return’ to the set and story of Twin Peaks, this third installment acters of Twin Peaks – echo and revive the first (and most significant) opens up an articulate and subtle work on the images of the series, question posed by Laura Palmer to Dale Cooper in the second on their visual consistency, time-space position, and autonomy. In episode of The Return, when they meet in the Red Room: “Do you so doing, it addresses the issue of memory, and the distance from recognize me?”. Cooper responds with a question (“Are you Laura the previous seasons in terms of (sometimes uncanny) recognition Palmer?”), and Laura’s reply is enigmatic: “I feel like I know her… but and identification of images themselves, to the extent that there is sometimes my arms bend back”. However, following a more direct a clash between the separate levels of story and discourse. David question by Cooper – “Who are you?” – Laura confirms that “I am Lynch is clearly not interested in simply adding a third part in order Laura Palmer”. “But Laura Palmer is dead”, observes Cooper, who to revisit the past (and the myth) and the stories and characters receives another ambiguous statement in response: “I am dead… from previous seasons; in short, he does not seek to serialize the se- yet I live”. This is followed immediately by a sort of demonstration: ries by simply breathing life, for a third time, into the world of Twin Laura ‘opens’ her face, revealing a powerful, inner white light. Peaks. Instead, Twin Peaks: The Return is a complex, subtle visual oper- From a certain perspective, what happens in the Red Room stays ation, in which the famous promise made by Laura Palmer to Agent in the Red Room. That is to say that, on account of its non-realistic Cooper in the final episode of the second season (“I’ll see you again nature and lack of common-sense logic, it is a space-time that lends in 25 years”) reveals itself, episode after episode, to be an unpre- itself to the unforeseen. The relationship between what is said and dictable return on the imagery of the series, and on a time (that of done there and what happens outside of the space (at the level of images) that exceeds the standard, commonsense idea of time. the story) is normally non-linear or not based on a direct cause-ef- We cannot, after all, fail to notice that the series is framed by two fect paradigm (or at least, the relationship between the two dimen- radical questions concerning the chronological position of events, 7 Elephant & Castle, n. 23, 30 anni di Twin Peaks, settembre 2020 L. Malavasi - Twin Peaks: The Return as a process of image identification 8 and indeed whether they even belong to a knowable, measurable, on the body and surface of images – which, ultimately, underline orderable linear time. The first, posed in the second episode by their nature as images – support the idea that, as anticipated, one of MIKE in the presence of Cooper (just before the aforementioned the crucial aspects of the return of Twin Peaks is in fact the return to Cooper/Laura scene): “Is it future or is it past?”. This question is it, i.e. the exploration of the life and existence of images per se (their repeated shortly thereafter, and again at the beginning of the series own memory, their own autonomy), rather than a mere factual re- finale. The second question coincides with the very end of the sea- vival of the Twin Peaks world and its stories. Considered in terms son, and is pronounced by a disoriented Cooper (disoriented, per- of enunciation theory, it is a work that, as shall be seen, involves fre- haps, for the first time in the whole ofTwin Peaks), just after he visits quent clashes between the level of story and the level of discourse the supposed Palmer’s house: “What year is this?”. And just as MIKE’s (Branigan, Buckland 2014: 157-161). This thesis is explored here by phrase followed an attempt at recognition (“Are you Laura Palm- analyzing three episodes in particular: the story of the two Coopers, er?”), this sentence too is prompted by a sort of ‘visual test’. Cooper the encounter between Audrey Horne and ‘her’ title track (Audrey’s has driven Laura (or rather, the woman he thinks could, or should, Dance), and the extreme gesture of cancelling Twin Peaks, conveyed be Laura) from Odessa to Twin Peaks to recognize her house, to find by a new editing of a scene from the prequel Twin Peaks: Fire Walk it again. And, by extension, to find herselfin Twin Peaks, to recognize with Me (1992). herself as that Laura, his Laura. Before considering some examples of the ‘life of images’ –3 an as- “So, you are Cooper?” pect largely overlooked by scholars and critics, and particularly TV critics, who are too engrossed in studying the fans’ expectations and The story involving FBI agent Dale Cooper could be titled ‘the (un- reactions to the third installment of the show (see, for example, stable) adventure of an image’: an image left behind – in the viewer’s Williams 2016, Hills 2018) – it is worth touching, first, on another memory and the world of the series – by the two, distant first sea- facet.