Twin Peaks - Fire Walk with Me

This film should be viewed as an addendum to the entire Two Season epic television series TWIN PEAKS. (They've finally worked all the bugs out of the TWIN PEAKS - THE DEFINITIVE GOLD BOX EDITION, which is a worthwhile purchase for all Lynch fans.) When viewing David Lynch's brilliantly underrated prequel TWIN PEAKS FIRE WALK WITH ME, it is important to understand some key elements to Lynchean symbolism. David Lynch is an adherent of Eastern Vedic philosophy and meditation. Along with Eastern Vedic thought, Lynch also mixes shamanism and Christian mysticism into the much bigger cauldron of "The Perennial Philosophy." (A term made popular in 1945 by Aldous Huxley's book by the same name.) The Perennial Philosophy is the recurrence of all universal religious or mystical truths inherently found in most cultures. The Dreaming World: To mystics and shamans of countless cultures, the dreaming world is just as important as, if not more important than, the waking world. It is the place where the subconscious is free to associate with the superconscious mind, or the source of all consciousness. Like the dreaming world, the waking world is also a construct of perception. Pictures, images, and symbols. This is why it is hard to separate the dream world, or non-reality, from normal reality in most of Lynch's work. Dreams and normal reality are one and the same. The building blocks of the phenomenal world are illusive and illusory constructs. The pictures and images we witness as reality are essentially the same as the pictures and images we witness as dreams or non-reality. They are only constructs of consciousness. They are transitory states of perception that rise and fall out of emptiness. Like many other Lynch films, FIRE WALK WITH ME depicts the dual nature of a waking and dreaming world. These two worlds do not separate in The Lynchean Universe. Not all, but some of the actors from the TWIN PEAKS television series, and most of the critics, felt that Lynch had lost something with this film that was a part of the original television series: the dark underbelly of evil that was hidden just beneath the surface of a small idyllic town in Northern Washington. They felt that the film was too "in your face." (See the documentary on this disc.) While it is hard to witness, it was important for Lynch to pull no punches in depicting the events of Laura Palmer's tragic murder. Although it appears as such, the abuse and destruction of Laura Palmer is not a bogeyman lurking beneath her bed. It is the beast in man displayed in full form, breathing his foul stench into the face of the innocent. It is the curdled cream that floats to the top of a festering cup of evil coffee. A damn fine cup of evil coffee. It is not a story to be presented delicately or to be brushed under the rug to make it more palatable. It is a story of abuse that happens everyday. It depicts the harrowing, violation, and destruction of an innocent girl. Because of Sheryl Lee's brave and amazing performance, it is an extremely effective film. Psychologically and emotionally. The film begins with the investigation into the murder of Laura Palmer's friend Teresa Banks, and takes place one year before the final days of Laura's life. The beginning of the film seems tacked on and unrelated to the events that take up the majority of the film one year later. But, this prologue is not superfluous. It is important to understand the symbolism of The Disappearing Agents. (See below.) ****************************SPOILERS********************************* The symbol of The Doors: Doors are used by Lynch as symbols for entering into and out of subconscious memories, the hidden aspects of the psychological mind, the dreaming world, Heaven, Hell, and Purgatory. The symbols of dream color: Dream colors are important to understanding Lynch. In dream sybolism, the color "blue" symbolizes truth, eternity, emotion, the feminine, and Heaven. Blue angels respresent guardian spirits or the super-ego. Blue light represents truth, enlightenment, Heaven, Nibbana (blowing out the FIRES of greed, hatred, and delusion), or Nirvana. I don't fully understand the meaning of the Blue Rose. Agent Cooper, referring to the murder of Teresa Banks says, "This is one of Gordon's Blue Rose cases." What does he mean? As blue can also represent sadness, it may signify the murder of a lonely girl, unclaimed by family or friends. The color "red" symbolizes power, anger, hatred, the id, primal and sexual urges, the masculine, and Hell. The symbols of The Black Lodge and The Red Room: The Black Lodge represents the purgatory of samsara, ignorance, or the blinding ego of the self. The Red Room in the Black Lodge represents the lowest level of the self in The Black Lodge. The id, the primal self, animal urges, suffering, murder, or Hell. (Briefly, because it is not mentioned in FWWM, The White Lodge represents escape from samsara, egoless enlightenment, Nirvana, or Heaven.) The symbols of The Demons: Bob is not presented as a symbol, but as a physical entity. Bob is an entity that feeds on fear, pain, and sorrow. "Garmonbozia." As a symbol, The Demon Bob represents the id, primal animal instinct, suffering, and/or pure evil. The Boy in the Mask (The Jumping Man) represents the fusion of the Leland/Bob personality. The monkey behind the mask represents Leland's primal self. Bob as his dark half. The incestuous and animal urges of Leland's id. The dwarf, or Man from Another Place represents the missing arm of The One Armed Man (Philip Gerard). The dwarf is The One Armed Man's connection to his base or animal self, The Red Room, and to Bob. He is still partly trapped in that world by his own karma. (At one time, The One Armed Man committed atrocities with Bob. Or, was possessed by Bob.) Other demons may represent other hidden aspects of the primal mind. The symbol of Bob as psychological denial: Unfortunately, Laura is in many ways a victim of forces beyond her control (rape and incest). This makes her journey even more frightening and sad. The manifestation of Bob represents Laura's psychological denial of her incestuous rape by Leland. The memory of Leland raping Laura since she was 12 years old, is replaced with the image of Bob as her attacker. Instead of fleeing from the years of abuse, Laura hides her true self inside her secret diary. As do most victims of abuse, Laura escapes psychological and physical torment into a world of self-abuse, drugs (cocaine), alcohol, and prostitution. (Sometimes victims of abuse will cut themsleves, which thankfully, Lynch does not portray here. )Years of abuse become psychological transference. Laura feels she doesn't deserve love on any level. She is empty and worthless. She becomes a self-loathing symbol of sexual lust, perversion, and desire to men. In the days proceeding her death, her choices are becoming limited, and her destiny is almost etched in stone. A force of karma that must be played out. In the most profound scene of the entire film, before heading into the hedonistic Pink Room, Laura receives a warning from The Log Lady about the path she has chosen to continue upon, which is only partly, of her own making. It is heartbreaking. "When this kind of fire starts. it is very hard to put out. The tender bows of innocence burn first and the wind rises - then all goodness is in jeopardy." LOG LADY Eventually, Leland/Bob finds Laura's diary, steals her true self, and shatters her identity completely. Only after many years of psychological trauma and denial, does Laura finally realize that Bob is actually her father Leland. Innocence is completely destroyed. Laura gives in to utter abandonment and fear, which leaves her defenseless against her total destruction. That fear is completely devoured by Bob, who only exists to feed on fear. The symbols of The Pictures: The original picture that hangs upon the wall of Laura's bedroom depicts children being served food by a guardian angel. This picture represents the love, warmth, comfort, and protection of home, which is disappearing for Laura. The other picture given to her by The Demons from The Black Lodge, which she later hangs upon her wall, depicts an empty room with an open door. This picture represents the Door to Hell. The disappearance of the guardian angel from the original picture on her bedroom wall symbolizes a point of no return for Laura. Laura's descent has taken her so far down the road to Hell that her guardian angel spirit (also symbolized by Agent Dale Cooper) can no longer save her from her fate, karma, or destiny. The second picture or symbol, supplants or usurps the original. Once Laura is pictured inside the door, there is no return. She will die. The symbol of The Guardian Angel: A recurrent symbol for Lynch. By the end of the film, Ronette Polaski's guardian angel appears to her, as Laura is being murdered by Leland/Bob, and spares her from Laura's fate. (Ronette is later found alive in the TV series.) Only after Laura dies is she visited in the Red Room by her guardian angel and Agent Cooper. She then realizes that her pain and sorrow has reached an end. She will be released from puragtory, samsara, and suffering. A better world awaits her on the other side. The symbols of The Green Ring and The Disappearing Agents: Agent Desmond (Chris Isaak) is transported to the Black Lodge after finding The Green Ring under the trailer and bending over to pick it up. Like the Door to Hell picture, The Green Ring symbolizes a path of no return. When Laura puts it on, she will die. Green symbolizes a "going out," traveling, or leaving this world. The disappearance of Agent Jeffries (David Bowie) and Agent Desmond symbolize the good men who investigate these horrible crimes. They are transported into a psychological Hell, from which there is little or no escape. These are men that risk their own sanity and psychological well being in their battle with evil forces, and their search for justice. (In the series, while inside The Black Lodge, Agent Cooper agrees to trade his soul to Windom Earle for Annie Blackburn's. Annie's murdered image appears briefly in FWWM. Cooper himself becomes possessed by Bob at the end of the series. Too bad we never got to see where that journey would lead.) I choose to believe that the disappearing agents are Lynch's symbolic homage to them. They are the brave ones that walk around inside the psyches of these demons. Sometimes, they never return from the Hell of what they've seen. Hence, their disappearance in this film. ******************************************** There are animals rapists, demons, and monsters that walk among us. FIRE WALK WITH ME is an amazing metaphor for the destructive power they possess over their innocent victims. The victims can either be total strangers, or the immediate family members of these evil beings. The abused often become the abusers, and if not completely destroyed, often continue a neverending cycle of abuse and destruction. These themes are as just as profound today as when Lynch made this film. These monsters continue to walk among us. The DVD includes a great documentary with the reflections of the cast and crew on the entire TWIN PEAKS phenomenon. It also includes some online features which I have not perused. As with most Lynch films, the DVD is not divided into chapters. A very powerful film about a very dark subject. And, one of Lynch's best. Enjoy.

I got my product and it was exactly as described. It was in great shape and shipped in a decent time frame. This movie is a key part to understanding Twin Peaks:The Return. If you find yourself in a situation where you want to watch the whole show plus the return, DO NOT skip Fire Walk With Me. And watch it BEFORE you watch the return. RIP, David Lynch. A master of masterpieces.

Great movie. Plays well. Arrived quickly and in good condition. Thanks.

If this is your first encounter with "TPFWWM", it is most likely a result of being exposed to Lynch from another of his movies. As far as I am concerned, Lynch doesn't get any better than this. I first saw this movie in 1993 in a big single screen theatre from the late 40's, and I had never seen an episode of "Twin Peaks" on TV at that point. The effect of seeing this movie (without any expectations) on a huge screen and hearing the score on a theater sound system was the strongest single movie experience I have ever had...it stayed with me for days, and made me watch the video more than any other one I owned. "TPFWWM" delves deeply into the world of darkness and shadows within our own minds while still believing in the concepts of love, family, God, friendship, and small town values. Admittedly, it is bizarre, but most Lynch movies are. Admittedly, it is different from much of the "Twin Peaks" TV show (which I watched every episode of AFTER I saw this movie), but that is what you would expect from Lynch on going from TV to cinema, where he didn't have to censor his excesses and lighten his mood. Admittedly, the DVD doesn't have almost any "extras", but this is typical of Lynch and, therefore, renders attempts to compare it to other DVD's with numerous "extras" irrelevent. The greatness of this DVD is the movie itself. You will feel like you are in an alternate universe seeing this movie (a world of blue?), and then think it could happen right down the street. "TPFWWM" majorly influenced what Lynch eventually did with "Mulholland Drive", and it is no greater stretch than much of "The X-Files". Aside from all of its oddities though, "TPFWWM" has some of the most affecting moments that have ever been filmed: the opening credits rolling with the bleakly beautific theme song in the background (which again set the stage for "Mulholland Drive"), the chilling autopsy of Teresa Banks, the bizarre appearance of Agent Jeffries, the believable scene of Laura sniffing coke in the school bathroom, the haunting look on her face and sound of her voice when she talks to Donna about falling in space, the creepiness of the Palmer's empty house, the almost insane look in her father's eyes at the dinner table...I could go on and on and give a lot of the plot away. All I will say at this point is that if you appreciate Lynch's ability to make a moment in a movie resonate with unique poigniancy or if you can appreciate surrealism, this movie is a must see. The DVD is a great picture transfer, so it is worth having even if it did turn down the soundtrack a bit (and drop the subtitles in the Pink Room scene), so it is worth replacing the video with. Lynch may not release any version but this, and, if he does, it may be a LONG time from now (knowing him), so enjoy this now for what it is...a combination of unparalleled surrealism and romantic idealism that is on a clear DVD picture. Just don't take the ring...

This film caught a lot of flack for being very 'un-Twin Peaks' like in its sensibilities. In Twin Peaks tv show by necessity everything had to be innuendo and hints to appease tv censors. I personally dont know why everyone was so shocked by Lynch's approach regarding child sexual abuse/incest in this film. When given free reign to express himself in film he has never censored himself to protect delicate sensibilities. He certainly didnt do it in Blue Velvet, and he didnt do it in this film. Child sexual abuse/incest is one of our societies true horrors and to try and lessen its impact to protect the audience from the truth of it would be an insult to those who have suffered from it. Also how would the voyeur understand sexual abuse and its domino effect on someones life if Lynch watered it down? Lynch in this film doesnt pander to the victims of abuse either. The main character has literally dozens of opportunities to ride off into the sunset for what one has to assume is a better life. The fact that the main character chooses to denegrate herself after being denegrated by others gives an insight into the psyche of abuse. In showing this the film seems to transcend its story of sexual abuse and gives a good picture of how the abused often degenerate themselves and turn towards evil. In doing this he gives an insight into evil itself, yet he never excuses evil and shows the consequences of it. The film offers hope for redemption however, and despite choosing to 'Walk with Fire' the main sufferer is redeemed at the end of the story. This is not a sterotypical Hollywood ending, this is kind of a cosmic justice. Someone who has suffered so much through their life is offered in death peace. A necessary, and revealing work of art. In my opinion one of Lynch's most unyielding and important works.

I ALWAYS FOUND THE "TWIN PEAKS" TV SERIES TO BE STRANGE ALMOST LIKE THE OUTER LIMITS.. THIS MOVIIE BROUGHNT THE HORRIBLE CHILD ABUSE ISSUE TO THE SURFACE REALLY. THIS IS A STORY ABOUT TWO GIRLS IN THE NORTHWEST CLOSE TO THE CANADIAN BORDER. LAURA PALMER WEA NOT YOUR AVERAGE SUNDAY SCHOOL GIRL EITHER. WHAT I FOUND GREALLY GOOD IS THE SOUNDTRACKS TO BOTH THE TV SERIES AND THE MOVIE, SOME GREAT KICKBACK MUSIC TO LISTEN TO AT NIGHT IT'S GREAT MOODY MUSIC. THE WHOLE TV AND MOVIE WAS ABOUT EH MURDER OF LAURA PALMER AND THE MURDER OF AN F. B. I. AGENT INVESTIGATIING HER DEMISE BEFORE HAND. THIS MOVIE ISN'T FOR THE FAINT HEARTED. THE MOVIE HAS A FEW TWISTS AND TURNS WHICH WILL KEEP YOU INTERESTED.LAURA PALMER'S DANCE AT THE CANADIAN BAR IS UNFORGETABLE AS YOU WILL SEE. THE PINK ROOM SCENE I COULDN'T FIGURE OUT THERE ARE EVEN BLOGS ON THE INTERNET WITH PEOPLE TRYING TO FIGURE IT OUT. TRACICALLY LAURA PLAMER IS MURDERED AT THE END, AS THE TV SERIES BEGAN WITH HER BODY FLOATING IN THE LAKE WRAPPED IN PLASTIC BUT THE REDEMPTION SCENE WITH THE SONG VOICE OF LOVE IS A GREAT ENDING WHEN THE F. B. I. AGENT AND LAURA PLAMER SUPPOSIDLY HEAD FOR GRACE AND HEAVEN ATH THE END WITH AN ANGEL ABOVE THEM. RECOMMEND THIS MOVIE ALSO LAURA PALMNER IS A SAD VICTIM OF CHILD ABUSE BY HER FATHER WHO ISN'T RIGHT IN THIS FILM BELIVE ME. ANYWAY FOR INTRIQUE AND A MIND BLOWING MOVIE CHECK IT OUT.

Twin Peaks fan? You'll probably love this movie. Hate Twin Peaks? Run away from this movie. Never seen Twin Peaks? Then start with the TV series, which is also available on videocassette. The reasons are simple. Twin Peaks, like essentially all of David Lynch's work, is something that some folks love, some folks hate, and most folks (including me) don't really understand. Either way, this movie is really something that you should only watch AFTER you've seen all or most of the TV series. The reason is that lots of stuff won't make any damn sense otherwise, and if you watch this first then the series won't be nearly as interesting. Personally, I found the show captivating and hypnotic, and while the movie was great I only gave it 4 stars because as a TP fan, I would really have rather seen what happened after the show was cancelled. Instead, the movie is a "prequel", and if you were a huge fan you probably knew a lot of the backstory that the movie tells anyway. So: If you liked the show, go ahead with this movie, if you didn't, don't bother with it (you'll probably hate it even more) and if you've never seen it (you heathen!) then get the TV shows first. Paul Note on the TV show; there's a "movie" that purports to be the pilot episode. It contains "bonus extra footage" that is a load of crap because it wasn't on the TV show originally. The reason is simple; the show (as you might have heard) carried on for hours and hours before revealing the "true killer". So for the boxed version of the "pilot" they wanted a clean-cut ending, and Lynch gave them one. The best thing to do is to watch the boxed "pilot" and then stop it when you get to where someone digs up the heart necklace that Donna and James buried- from this point on, it's "extra" footage that in the context of the series doesn't make a lot of sense.

I think this is a love-it-or-hate-it kind of movie. Personally, I loved it. If you're familiar with the Twin Peaks mythos, it answers some questions from the TV series but raises others. David Lynch got realllly David Lynch in this film. It's not disturbing in a graphic blood-and-gore kind of way (much), but in a way that makes it stick with you. Sheryl Lee makes Laura's mental state really hit home - the anguish of a girl trying to cope with her father's molestation, trying to take back control of her body and her sexuality the only way she sees possible. The fantastical element of BOB is almost a distractor; this could be the story of any victim of sexual abuse at the hands of a parent. (If you hadn't watched the TV series, you could argue that she invents Bob as a coping mechanism.) (Does it irritate anyone else that the headlined actors start with Kyle McLaughlin and David Bowie and don't include Sheryl Lee at all? The men appeared for maybe fifteen minutes combined, and still they get listed ahead of the only reason this movie is worth watching.) (And now we know how Agent Cooper went on to become Skye's father!)

Belle édition, conforme à la description

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Demorou para chegar mas veio tudo intacto. O filme foi testado e funciona devidamente.

Heel mooi gerestaureerd. Ook eindelijk een versie met The Missing Pieces content.

This is a review of the Criterion edition from late 2022. Laura Palmer dominated the Twin Peaks TV series. Her murder was supposed to be the trigger for plucky Special Agent Dale Cooper and Sheriff Harry S Truman to delve into the many dark secrets of the eponymous northwestern town, but even in death Laura somehow became the main character in the series. There was something extraordinary about Sheryl Lee in those fleeting moments she had early in the series and in the character painfully portrayed in Jennifer Lynch's unflinching Secret Diary that led to Laura becoming the main character, dominating the series even in her absence, a little like Daphne du Maurier's Rebecca. It quickly becomes clear in the TV show that when Laura's killer is revealed, the show struggles to find a new path. Ultimately, the path it found after fatally drifting for several weeks led to the Black Lodge and back to Laura Palmer. When the film was first announced as a prequel, there was palpable sense of disappointment, even in the pre-internet age. People wanted a resolution to the cliffhanger at the end of season two. Nevertheless, we got a film that was mostly prequel, with fleeting flashes to events after season two. The film was unfairly pilloried at the time, in part because David Lynch controversially won the Palme d'Or at Cannes a couple of years earlier for Wild at Heart. I saw it at the cinema the day it was released, catching the first screening after morning lectures. The critical mauling the film received was tragic, because Fire Walk With Me is a masterpiece. It's painful, terrifying, heartbreaking and uplifting. After an investigation into a similar murder - of a girl called Teresa Banks - a year before the TV show, we witness the horrors of the last week in the life of Laura Palmer and how the death of Teresa Banks ties into Laura's life. Abused since the age of 12, moonlighting as a prostitute, addicted to drugs, Laura is an innocent under persistent psychic attack by a demonic entity called BOB. BOB has been in possession of someone else's body for years, using the body to assault her and now wants to possess Laura's body. Laura can't see who it is that BOB is possessing in these attacks, but an intervention by a sinister old lady and her 'nephew' lead her to make a sickening discovery. Increasingly BOB possesses Laura, coming to the fore in one terrifying scene when Laura visits her agoraphobic friend, Harold. We know where the film is heading, but that doesn't stop the journey being worthwhile. Sheryl Lee is incredible as Laura - a complex mess of teenage angst; manipulative, destructive, self destructive and cruel, yet somehow noble, kind and desperate, trying to find a way out of the darkness. You can't help but love her. Moira Kelly (replacing Lara Flynn Boyle) as Laura's innocent schoolfriend Donna is given a new slant as Laura drags her into her (Laura's) world. Kyle MacLachlan briefly appears as Cooper, but many TV series cast members are absent. The film looks wonderful on Blu-ray in a modern transfer approved by David Lynch. This is the same transfer used on the Complete Mystery set from a few years ago. However that set had considerable audio sync issues while this one is perfect. The soundtrack is excellent: clear dialogue and lots of audible low, eerie sounds to complement Angelo Badalmenti's score. The major part of the extra features is The Missing Pieces. This is 90 minutes of deleted and extended material cut from the film. Many scenes feature TV show regulars, such as the team at the Sheriff's Department - obviously Laura isn't dead yet, so these characters aren't really necessary at this point - and there's some lovely, irrelevant material with Jack Nance's Pete Martell and Joan Chen as Josie Packard. One scene in particular with Donna's family makes you look at Donna's parents in a whole new way. The image on The Missing Pieces is a bit weird immediately after watching the film. It seems to have been degrained and motion is so smooth that it resembles video at times. The look isn't unlike that of the more recent third season, so this might well be deliberate. Similarly, the sound mix is much more minimalist, akin to the latest series. The Missing Pieces are now an essential part of the saga, though, and a couple of scenes are directly referenced in the new series. Add to that some interviews and it's a very nice package indeed. If you have the Complete Mystery set, you might want to skip this release as unnecessary, although I believe the film deserves its own place with original poster art on a film collection's shelf, rather than buried away in a box set. It's a film that defies genre definition: part neo-noir, part family drama, part crime thriller, part horror film, part black comedy. It's of the best examples of a film based on a televison series ever made: it treads new ground, it introduces new characters and adds new layers to existing ones, while expanding the world we've come to know thus far. This film reveals the dark heart of the series that no network TV show in 1990 could. A very highly recommended release.