David Lynch's L.A. trilogy created a shattering, surreal, sometimes impenetrable portrait of identity in crisis.
A story has a beginning, a middle, and an end. Maybe that’s why the trilogy is such a satisfying structure for so many epic series or curious corners of cinema history. This year in Triple Threat, Ken Lowe revisits another of cinema’s best trilogies each month, including some unofficial trilogies that have come to define a director, actor, or time in film history.
Lynch’s unofficial L.A. trilogy spanned from 1997 to 2006, a period of time where the old analog world drifted into the past and a digital one increasingly rose to prominence. There isn’t anything in Lynch’s three movies about social media, the internet, or the constant and harrowing nature of self-surveillance that we imposed upon ourselves during those exact years.
When you sit down for these movies, you are in for hours of being unsure what you’re seeing, and in the case of, of being about as sure of what you’re seeing as the director and actors apparently were. They can be a tough watch. They are also some of the only movies I’ve ever seen that replicate the uneasy logic of nightmares, the brooding vindictiveness of daydreaming about being some terrible person youYou will also see a one-legged woman, a monkey, and a lumberjack.
Then, in prison, something completely inexplicable happens. The security guards check on Fred and find that he is not Fred. Inside the cell, for no reason anybody at the jail can figure out, is Pete , a young mechanic with a bitchin’ jacket and a rap sheet, sure, but there’s no reason he should’ve been incarcerated. Completely baffled, the authorities release him to the parents he lives with, who seem uncertain how he got there.
It is, as you might imagine, very difficult to piece together exactly what’s happening after the premise is laid down. Laura Dern’s character is an actress who, along with co-star Justin Theroux, is cast to play co-lead in a movie that is supposedly cursed—the stars who tried to film it once before were murdered . Dern and Theroux’s characters have an affair in the film, and Dern seems to be losing herself in her role in much the same way the protagonist ofdoes.
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