On Wed, 31 Aug 1994, Denis Henry Hennelly wrote:
> i have a question i'd be interested in bringing to discussion... it's
> a little off the typical intellectual level of this group, delving more
> into emotional response. i'd like to know where your sympathy level was
> with mickey and mallory. did you want them to escape? did you want them
> dead? did you care? does your reaction on this point stem from the content
> or the way stone presented it?
It was in the Mickey-Mallory relationship that I was most reminded of
David Lynch's ability to ground tender, almost painful beauty in the most
perverse and twisted or settings. The scene from TWIN PEAKS with Cooper
and Annie out in the boat was one of the most gorgeous love scenes in TV
history, I thought, and lord knows it was set amidst some of the most
unlikely events imaginable.
The Mickey-Mallory thing really bypassed my intellect, as I think it was
intended to do. I felt very strongly for them, because whatever else may
be said of them what they felt was strong and, in Mickey's words,
"pure." Intellectually, of course, I wanted them blown to smithereens.
But at some dark inner level I kinda wished them well at the end.
This is part of what I see as the film's peculiar magic - the strength of
image I have earlier alluded to is in its ability to reach levels of
meaning that are decidedly non-intellectual. My response to the
star-crossed lovers was visceral, emotional, arising out of a place most
of us like to keep under lock and key. And deadbolt. And bar across the
Why do I feel like everybody's staring at me all of a sudden?
Your humble servant,
When the going gets weird, the weird turn pro.
- Raoul Duke