Paul Pecere (from The coffee shown )
1. Is it a trend just emotional, tied to the circumstances of the particular environment in which we live, to consider important cultural phenomena of the past, for example the works, which are considered poor on the other hand. This is an indirect attack on typical experiences of an age and as such, unique, or even the possibility of those experiences and their potential that maybe nothing has been deployed. Sometimes, perhaps, the bitter sympathy for certain works - songs, movies, figurines folklore has become a badge - is linked to its regret that in some ways inevitable where he talks about the world in which those works were incontrate. Come se, riafferrando i versi triviali di un ritornello o la battuta involontariamente comica di un personaggio, si potesse riscattare almeno in parte la potenzialità di quelle ore, la sua apertura indeterminata. Guardando l’opera si mira a tutt’altro, tanto che l’opera risulta al limite superflua, e come l’oggetto di un’ossessione può apparire agli occhi di un terzo privo di connessione alcuna con la passione dell’ossessionato, così si può supporre che quest’esperienza risulti ermeticamente contenuta in un ambiente generazionale, e con essa l’opera sia destinata a cadere come un frutto secco e, quale nastro ammutolito negli archivi, ritornare prossima alla polvere.
Questo pare essere il caso del telefilm Twin Peaks . Non solo, benché se ne riconosca il valore di modello per tante fiction della televisione satellitare, il fascino di quel modello risulta difficile a spiegarsi al di fuori di un gergo e di una condivisione presupposta. C’è di più: ora che ricompare nei palinsesti notturni, e le prime puntate circolano in cofanetto, ci si rende conto che quasi nessuno tra gli appassionati ricorda come – e dopo quanti episodi – andasse a finire. Resta insomma solo l’immagine monca di un inizio, i cui sviluppi si fanno sbiaditi e infine frammentari. È forse un monumento ad anni in cui le principali forme di cultura popolare – come la canzone, la soap opera, comics - tended to seriality, repetition within a frame identical to each other and the interest generated and ends for the diachronic development, it remained the prerogative of experience mostly school or individual efforts concluded in the private sphere. Or maybe only weak expression of the culture industry, a special youth entertainment industry as qualified to play between the cracks of uncritical enthusiasm, almost guaranteed to support a physiological product as soon as animated by the original choices, but whose effect was perhaps destined to die suddenly like the sound of a blown instrument with too much violence. However
is not surprising, or reductive in the sense just seen, which Twin Peaks you remember how to open an entity, an emotional quality, rather than a story, such as exemplary and significant. Not only because, through several hands between directors and screenwriters, the story is continuously regenerated: laddered increasingly testing the concept of twist and lose bite as they warm if not embarrassing truth were to replace all ' Pending compulsive and indefinable stuck between the viewer and the other one of the first episodes. The point is that just quell'esordio Lynch as onset, incomplete and clearly unaware of their developments, has the traits of a new phenomenon, and led them to mark the original event which will follow the many copies of a work, some faded by a special filter and find ironic that go against the seriousness, but not yet merely of a series. So the story of Twin Peaks , instead of solving the mystery from the corner of a town America - it is not known to what extent imaginary and how far only American - and only evoke resonances biography, you may consider the image of cultural conditions. Open image in countless inspections, not reduced to the repetition of itself and its explainable gimmicks, which may be a formula, a format, a magician's trick (assuming that such asciuttissimi performance models can not always gain a breath and a window of creative vagueness). It is short, as we sometimes forget that serves as a model to so many memories, and is then reduced and maybe play countless times in more schematic portraits: the key that distinguishes the opening of Twin Peaks from the closure of fiction later, ended in the tips of their caskets.
But then, apart from the interweaving intended to ladder, working as quell'esordio? In the early sequences we witnessed a succession of hysterical crying, or frankly commossi, di grida e lacrime versate per la morte di una bella ragazza di cui non si sapeva nulla. Mentre i dettagli latitavano, si assisteva ancora all’incontro tra l’amica del cuore di Laura e il ragazzo segreto della stessa defunta, un motociclista slavato chiamato James. I due, smarriti e vuoti, improvvisamente si baciavano, e immediatamente nasceva un nuovo amore. In Twin Peaks , l’emozione precedeva a distanza di sicurezza la coscienza delle sue ragioni. Era un luogo sinestetico di puri affetti, mutevoli però in modo improvviso, come se, a dispetto dei risaputi e risibili complotti intorno a droga e denaro, il destino di una vicenda capricciosa e superiore governasse gli abitanti del paesino.
Tutti sembravano disorientati, a Twin Peaks, ma moltissimi parevano avere presentimenti o veri e propri poteri telepatici. Era un paese di anime sonnambule, capaci di superare agevolmente certi ostacoli del mondo fisico, ma a tutta evidenza incarnate con disagio, quasi sempre rinchiuse in abitudini minime o rapporti psicotici, al riparo da una realtà che trascendesse un’ambiente limitatissimo di cose e persone. Nascoste a se stesse. Il mistero della brava ragazza che in realtà era una pervertita, così, non era nulla di fronte al mistero di quella piccola comunità isolata, che sembrava detenere nello stesso tempo un rapporto privilegiato e visionario con l’aldilà e, quasi a esorcizzarne la vertigine, la sapienza perduta di una buona vita mondana, scandita dal lavoro, dalla messa, dalla degustazione di caffè e ciambelle al cioccolato. Se ne accorgeva subito l’agente Cooper, venuto da fuori, che sapeva interpretare l’approccio giusto a Twin Peaks, quello sensitivo: la telepatia e il sogno scandivano i veri progressi nelle sue indagini, rendendo pura pellicola accessoria tutti gli intrighi circostanti; mentre un analogo processo sensibile, la consumazione massiva di caffè e dolciumi vari, aiutava a confortare la vita razionale. L’adeguazione alle asperità del caso d’omicidio e del luogo sinistro era immediata, innaturalmente facile, priva di sforzi riflessivi e di ripensamenti drammatici: vitto e alloggio erano «appropriati». Il tutto coniugato ai buoni rapporti sociali da un sorriso automatico bonario, quasi inumano.
Uno spettatore che non avvertisse il fascino subliminale delle impressioni visive, acustiche e addirittura gustative di Twin Peaks potrebbe ritrovarsi di fronte semplicemente a una sequenza farraginosa di eventi, interpretati da personaggi piatti, epidermicamente volubili. Né si potrebbe dire, a chi giungendovi ora non riuscisse a trovarci altro, che le cose non stiano affatto così. Peraltro, Twin Peaks contiene un’esemplare, archetipica galleria di volti incapaci di espressioni autentiche: un miracolo di casting e forse di direzione, perfettamente strumentale all’assenza di veri e propri eroi nella storia. La emotion and sympathy that you may feel for the many characters are never intact, without a particular posting, that the atmosphere of the film produced by a formula still to be determined. This is - not the little satanic diary of Laura Palmer with his riddles - the real secret of Twin Peaks, which are worth investigating. It is also, perhaps, the true aesthetic appeal of the work, so to speak, as suggested by a brief overview of the characteristics on which the success of a fiction. So, for example, was not to attract the personality of the characters, even the mere familiarity - almost a reflection and solidarity-based sharing of everyday experiences and to limit poor - which often makes the fiction passable very bad. Agent Cooper, of course, was generous of sentences to be repeated, but his wisdom was right and just over an hour of recreation ("Ahhhhh. There is nothing like a cup of black coffee to start the day!" ). His affability and his ability to exorcise the negative passions, as incomprehensible, intrigued. But all this must be resolved in the surface, while repeating its maximum on the good life you find yourself staring at a cup of coffee along with that, outside the confines of Twin Peaks, could be a stupid look. E Cooper, pure, con la sua mania di raccontare in un registratore portatile tutto quel che gli accade, a beneficio di una misteriosa assistente Diane, era tra le personalità più sfaccettate. Tra gli altri dominavano comportamenti automatici; viziosità e bontà intangibili come quelle di figure allegoriche – angeliche o diaboliche; passioni assolute e improvvisi scatti d’umore, se non grotteschi tic: e con l’andare avanti della storia (complice forse lo stesso, arbitrario prolungamento dell’intreccio), quando ci si rendeva conto che quelle passioni erano anche mutevoli come le inclinazioni di un filo d’erba, la diffusa, scarsa riflessività dei cittadini, che all’inizio affascinava come uno strabismo alieno, began to seem stupid.
There was no immediate participation in the events moving or disturbing, as was mentioned, but it would not be governed by the bad success of the work. In fact, to act as a counterpart to the lyrical theme of Angelo Badalamenti, who still holds the chest to find those who are affected by the memory of the first vision - a mirage of the past televisorino perched for the first time in a washing machine in the kitchen - c 'were the reasons and swing tunes, sometimes overtly comic, to emphasize the many scenes read and unlikely that you realized that everything was not taken seriously. Not the sleepwalking Kleist of the characters, already very capable to worry. But even the figure of a mourning ritual of community and an inexplicable crime, not even the frequent epiphanies of a transcendent all neon and strip beds instead.
But even had the fun of a demented imagination, nor the laughter - pale and almost impossible, even decisive in their own way, as you will-to capture the attention of the viewer. The reassuring knowledge that it was a game, then, was that the antidote to a more demanding but less direct involvement, which did not concern the events in the strict sense. You can, of course, that there was among fans who saw in Twin Peaks as a fiction Dallas and Dynasty, only more surreal. However, the work itself had the potential attraction of more complex, as we will try to show.
Since its initial cultural distance covered the non-American audience, even the Italian one, which can outline an image no less stereotypical than those of low and show that it faced: an Italy of the welfare of young people but without the 'enthusiasm auroral boom, pop music fans, aware of the character, however, already largely a repetition of the pop music era, the late '80s, without the innocence of those who had seen it coming i Beatles e Jimi Hendrix come fenomeni rivoluzionari. Spesso figli di un’emigrazione interna, spaesati in città prive di memoria orale, adattivamente tolleranti di fronte alla bruttezza delle immagini pubblicitarie, pressoché privi di valori e ideali da contrapporre alla generazione dei padri e anzi alle prese con un clima di disincanto disarmante; empiricamente o almeno teoricamente consapevoli cosa siano la psicosi e l’alienazione domestiche; biologicamente inquieti. Quella distanza degli scenari provinciali e surreali di Twin Peaks , benché questi fossero per certi versi più familiari rispetto alle olimpiche dimore delle altre fiction d’importazione, forse proprio perché erano più familiari, non poteva che essere occupata dal filtro dell’ironia: così, non si potrebbe fare di Twin Peaks un serio manifesto generazionale. Intrigava senza serietà, senza pietà, pur senza confondersi senz’altro con un mero prodotto d’intrattenimento, e anzi mantenendo in retrospettiva l’apparenza di un fenomeno importante. Ma ritorniamo al punto: da dove scaturiva questa apparenza di uno spessore, non risolto nel divertimento, che ne determinava il fascino specifico? Pareva infatti raccontare altro da sé, dai propri intrighi tragicomici, e in ciò divenire appunto coinvolgente. A suo modo, in effetti, quasi a sorpresa, riusciva a superare i confini culturali, e raccontava lo spettatore e la sua esperienza, fino a evocare una peculiare e nascosta pietà: ma dello spettatore per se stesso. In ciò Twin Peaks possedeva l’indulgenza autoreferenziale di un’epica: un’epica per un popolo televisivo internazionale, rivolta a soggetti singolarmente spaesati, a sguardi abituati a sentirsi distaccati da ogni contesto non affettivo, non eroica né tradizionale − postmoderna.
2. Nei primi episodi di Twin Peaks compare spesso la televisione, e invariabilmente i personaggi stanno guardando a soap opera (fictitious) entitled Call love. We see clips from scenes in brilliant colors, totally fake, kind of by-product of the TV Western that - remarkable coincidence - just go crazy in those years, the martial arts master Miyagi of Karate Kid (a sage who has learned to appreciate the triviality of soap). This pull-compulsion to the world of far-fetched fiction appears elsewhere in the films of Lynch, Twin Peaks in the background is epic. It is the central theme of his film, perhaps the most successful Mulholland Drive, that just as Twin Peaks - twenty years later - was prompted by the number zero di una prevista serie televisiva. Dalla provincia settentrionale alla Los Angeles di Hollywood, Mulholland Drive compie il tragitto inverso di Twin Peaks : mentre Cooper veniva dalla grande città e infine si innamorava della calma tradizionale e mistica del paesino, la giovane protagonista giunge stavolta dalla provincia, spaesata e inetta, mossa dal sogno di fare l’attrice nella città universale del cinema. Mentre Cooper troverà una qualche armonia tra la percezione chiara dei propri sogni e la regola diurna del distacco garbato, del galateo e del piacere culinario, Betty dovrà soccombere alla passione primaria della gelosia e perdersi nell’apparente caos di un sogno disperato: un sogno tutto subìto. In both films, the voices speak in the dream the dreamer to Cooper's voice is initially blank, while Laura whispers to her ear the name of his murderess, but at the end of his journey becomes distinct, with his truth, in fact trivial ("It was my father"). For Betty, who dreams of being a great actress (that is, act the part well, and therefore collect admiration), in the end the love song that reveals a dramatically playback. "No Hay Band" Music is fictitious, the dream is a spiral solipsistic, and outside of it there is an unbearable pain that dulls the senses.
But beyond these symmetries, it is clear that - eliminating the exception of a peaceful character as Agent Cooper - Betty so that viewers of Twin Peaks are guided by a shared passion and dream of concern to the television screen: the invitation to love fiction, love is not only nothing at all to one person, but, mediately or immediately, for a world of absolute passion, with dell'asciuttezza fotoromanzo violent, more graphic and less controversial than those of real relationships. It can be said that what the agent Cooper is an improbable character of fiction, Betty dreams of being very (fake) and recalling the legendary names in Hollywood actors (the good-natured Gary Cooper, Bette Davis, Rita Hayworth - true identity of totemic Rita Mulholland Drive ) underlines the fact that there is in front of the image of a dream that an entire civilization has done film, to be like those characters, and thereby faced with a subtle error, but as inevitable as the mechanism of a theater primitive confuse the actor and the fictional character, tending finally to identify with them. So, again, the story - more or less explicit - of the drama lies in the slip. A dramatic example of all the ancestral mechanism of fiction, the cinema of Lynch in his polar opposite stages: the mourning of a community of people very common for a girl to dream of an ordinary girl of his dreams of helping the actress to find herself even, venendone so beloved - and having already alienated all value of their real life on the altar of this same passion.
Now, we have no doubt that viewers / dreamers do not really believe in this love soap-opera (in Twin Peaks , we read Shelley's ironic gaze, trapped in an abusive relationship, which turns off the video shaking his head bitter and smiling, but we also know Betty, who played in a dream scenario for the hearing - which alludes to the true story of his passion killer - laughs at the stupidity text). And yet, as well as other actors in the film Lynch, they do not know how to break away from the vision of an ideal world of passion that attracts them, and that so well reflects the transient nature of so many senseless and their real passions (to the point - in the case Betty, in the novel but also in psychotic Nadine Twin Peaks, regressing to adolescence and back to school - to produce the full actual replacement paranoid perceptions with those fantastic). Without realizing star-reducing reviewing the superficiality of the enigmatic drama of their real emotional relationships, none of them suggests a direct awareness of their labors. But
ci si avvicina così al segreto di Twin Peaks . Credo infatti che un analogo tipo di passione, tale stavolta da coinvolgere lo spettatore reale, costituisca l’attrazione segreta di Twin Peaks . Un piacere dell’autoillusione, a sostegno di una fascinazione radicale per la dimensione emotiva del rapimento brusco e incoerente, che scoraggia ma nello stesso tempo promette sorprese e gioie improvvise, in una dimensione libera da condizionamenti culturali e sociali, finanche dalle barriere fisiche. Ma insieme – segno della presenza di uno spettatore stavolta esterno alla dimensione fittizia -, per trattenere il rischio che tutto questo si sciolga per inconsistenza tra le mani, e si riveli drammaticamente un autoinganno masked, the irony is caused by those familiar with the mechanisms that drive the characters, know them artifacts, and this superiority is that it offers protection from risk, such as remote security that allows him to sympathize with performance of the characters become caricatures caricaturist, no longer see the watermark of their children's desires and pure.
