Twin Peaks is an American television series created by David Lynch and Mark Frost in the early 1990s. I recall hearing the theme tune (Angelo Badalementi) in the living room of my family home, too young to be able to stay up and find out who killed Laura Palmer but old enough to know it was a show unlike anything else on the TV at the time. It’s taken me 22 years to get round to watching the programme in all it’s glory and what a stylish and enigmatic one it is. I now walk into most establishments these days looking to find some sort of comparitive style; I now understand the cult influence of the show.
What I find most interesting about Twin Peaks are the characters. Agent Cooper is highly likable with his goodness and pyschic approach to solving mysteries, acting as some kind of shamen and recipient of spiritual messages.
Audrey is an alluring woman-child with a good heart.
Norma at the cafe exudes an all-American wholesomeness that made her the pin-up girl of the Ford adverts during the 1970s.
The wholesomeness found in the characters is belied by the devilry going on in the closed rooms of Twin Peaks.
The visual asthetic of the programme, including an industrial element felt to be forgotten by North America by Lynch along with fir trees and woodland is highly natural.
The men are uniformed to an extent, the FBI agent, the Sheriff and police officers, the owner of the Northern Hotel, the lawyer.
The women: waitresses in mint green, school girls in pencil skirts and jumpers and the ultimate accesory, the log worn by none other than the Log Lady.
I’m halfway through the second series. I know who killed Laura Palmer but there is more to untangle in the web of Twin Peaks it seems.