双峰：与火同行

After completing all three seasons of TWIN PEAKS, the TV series, one's final closure is this cinema prequel, aka, the last days of Laura Palmer, made in 1992 after the first two reasons, and was intended to herald an expanding Black Lodge universe, which was ill-fatedly scrubbed after the film’s dead-on-arrival reception.

The meat of Twin Peaks story is affixed to a prologue taking place one year prior in a God-forsaken town Deer Meadow, where FBI agent Chester Desmond (Isaak) mysterious disappears when he tries to retrieve a lost ring belongs to the murder victim Teresa Banks (Gidley), which triggers the concern from FBI Regional Bureau Chief Gordon Cole (Lynch) and agent Dale Cooper (MacLachlan), with the latter presciently foretells that another killing is imminent. The prologue gives us a glance of Lynch’s original conception of its botched sequels, what happened to Agent Desmond, and the introduction of David Bowie’s Special Agent Phillip Jeffires, who has gathered first-hand information about the eldritch rabbit hole, would have spirited us onto a Lynchian journey in another continent.

Back to Twin Peaks, FIRE WALK WITH ME, is a watchword of Laura Palmer's (Lee) scourge, delineating roughly the last week of her life and pruning less pertinent threads, Lynch emphatically puts Laura under scrutinies and Sheryl Lee gutsily takes it on herself to reify Laura’s distraught psyche to a thoroughly haunting and transfixing effect, a vulnerable, terrorized, traumatized girl whose only rebellion against the creepy demon willing himself to overtake her is to give herself up to the complete abandon, when one’s heart is dead, who cares about the body? It isa crying Oscar-caliber achievement goes criminally unsung, also Ray Wise stirringly amplifies his demonic impersonation of Laura’s father,altogether, their effort speaks volume of what we habitually turn a blind eye on:incest and sexual abuse, human's original sin.

Lynch’s trademark nonsensical touches in the beginning gradually morph into apsychedelic horror (suffused with tawdry iridescence, exploitative nudity and nocturnal killing) when the film inches toward that bloody foregone conclusion peppered with frantic editing and benighted screaming. For Lynch’s votaries, the movie is par for the course of earning the reputation as a filmmaudit, yet, assessed under a broader spectrum, as a singular piece, it still holds its own with Lynch’s peculiar conceits pumped up in high voltage, an eerie, spine-tingling voyage into a cosmic myth, the puzzle is unsolved, but redemption elevates itself in the final shot, rest in peace, Laura Palmer, an angel mired in the temporal vice.

referential points: Lynch’s MULHOLLAND DRIVE (2001, 9.3/10), WILD AT HEART (1990, 7.4/10), BLUE VELVET (1986, 9.0/10)

根据前两季和电影（包括missing pieces），最终laura的灵魂应该是进入了white lodge，而dale则分裂为两个；good dale与Laura一同待在white lodge里无法出来，而shadow-self被bob附身回到现实中 。

“TheBlack Lodge是 White Lodge的阴暗面。每一个灵魂在都必须经过那里才能达到完美。在那里，你会遇到你自己的阴暗面。如果你不能以完全的勇气面对 Black Lodge，它将彻底毁灭你的灵魂。”

在第二季结尾，dale遇见自己的shadow-self的第一反应是逃跑，最终被自己的黑暗面扑倒在地。而对于laura，影片虽然没有表现出她是怎么面对自己的阴暗面的，但结尾她坐在椅子上从惊奇到痛哭到微笑，上方出现天使照亮她的面容，可以判断出应该是闯关成功的最后一幕。

但是Laura是如何顺利通过的？

按一般的套路，英雄壮烈牺牲后灵魂会进入天堂，堕落少女肯定是不行的。

在双峰中没这么简单。表面上看laura在影片中是一个堕落的存在，从十二岁起被父亲性骚扰，白天乖乖女，夜晚卖身赚钱嗑药。相比男主一身正气、主动以身相许的美少女（Audrey）都不碰的形象，确实逊色不少。

但Laura是唯一一个完完全全清楚自己阴暗面，并且没有被其毁掉的角色。在现实中Laura的阴暗面已经被激发了出来，一直以来被bob折磨，可以说她的日常生活就是同自己阴暗面作斗争。她从来没有主动伤害过任何人，尽管她完全有能力这么做。

我相信laura的内心是比绝大多数人单纯美好的，尽管她表现出的也许是放纵与堕落，那也只是她对自身遭遇与外界环境的应对机制。她是个真正勇敢、真实的人。

你无法理解她，除非你设身处地设想如果自己是她，如果自己遭遇相同的打击与诱惑，自己会如何去做。在你完全挖掘处自己的阴暗面之前，你没有任何资格假设自己更优越，你没有资格去评判这样一个角色。

其实绝大部分人不是真的单纯善良，只不过是无知与naive。他们只是什么都没经历过，外界还没有什么东西来真正引诱他们做什么出格的事，这种人对自己的阴暗面没有概念，自然不可能会具备直面阴暗面的勇气。真正的单纯善良，是完全知晓自己恶的那面之后的善良。

Dale的话，至少他和搭档妻子那段历史就能说明他本质没有那么美好，现阶段能抵制诱惑只不过是之前吃过亏之后的收敛与克制，他并不清楚自己究竟能做到什么程度，所以最终面对自己的shadow-self时，他选择逃避，他没有勇气知道自己的内心究竟有多黑暗。

而他的阴暗面究竟有多阴暗，我们也只能从第三季找答案了。