For some darn reason, every time I see a new David Lynch film for years, it's at the very end of a drunken, debauched weekend.
Me and my mates head off to Lost Highway one Sunday night, all still hungover from the excellent wedding party we'd all been to the night before; I see Mulholland Drive at the end of a massive bender of a weekend, still tripping from the night before, dry and confused in the cinema; and I'm too old to be getting that drunk at my sister-in-law's 21st, but the massive hangover doesn't stop me from staggering off to Inland Empire the next day.
It's not big, and it's not clever, and for a while I convince myself that it really helps, seeing movies with such fluid grasps of reality, when it feels like everything in my body and mind is turning inside out. That some kind of physical punishment boosts the intellectual connection with these fractured narratives, and these moments of goofball humour and shattering horror.
And when I watched almost all of the new Twin Peaks stone-cold sober on a Monday afternoon, and Lynch's work is as transcendent as ever, it looked like that theory was just a load of malarkey. Then I saw the last episode at two in the morning, and I'm still a bit traumatised by that.
No comments:
Post a Comment