(And Parallel Universes Converging) 

At the time, somewhere around mid-1993, this reviewer had induced the now infamous duo, his own former ex-wife, Evelyn Horak and the Howdy Doodie-like Richard Lance McLaren to visit a lecture in Dallas that featured a certain David Oates, the pioneer of research into a phenomenon he had lucklessly phrased, Reverse Speech. Why an infamous duo?; why lucklessly phrased, Reverse Speech? Better yet, what has this to do with a movie review of the cult classic of all cult classics, Twin Peaks: Fire Walk With Me? Why, quite a lot. Sit back, dear reader, and decide for yourself.

The grasp of each of two concepts can vastly improve appreciation of this film, reverse speech and that of examining the flaws in our constructs of what we base our faith in causal reality upon, modern physics. Were even the presumed understandings of electricity held by the physics of today true, for instance, the astounding number of electrical anomaly exhibited by Nicholai Tesla would not still persist. While both electrical field and reverse speech appear significant to Twin Peaks: Fire Walk With Me, only its gifted writer/director, David Lynch, knows for certain just how intended the making of this film meant it to be. Or if, indeed, it is like two parallel universes converging. When art offers truth greater clarity such things can happen.

Bearing in mind that a very pervasive early twentieth century English trend, originating among Alistair Crowley’s Golden Dawn was pursuit of sexual/psychic energies ceremonially directed, this trend came to find expression in the founder of America’s own Jet Propulsion Laboratories, Jack Parsons’ occult practices and following. To the extent that Mr. Parson’s was to be heir to the Golden Dawn legacy after Crowley’s death. Therefore it is no leap for David Lynch when he builds a likely scenario in this movie for an extra-dimensional portal charged by such presumed energies. And, of course, nothing could more intensely manifest it than incest.

But the greatest attribute is appreciation of the innate dualism with which humanity is cursed, the conscious and sub-conscious minds. And the separate language present utilized by both. Here is where reverse speech comes in. For it, as has been shown by David Oates, is little more than an effort to correct the dissembling and sometimes prevaricating of the forward speech of the conscious mind. Evidently something the sub-conscious abhors.

The brilliant David Lynch has demonstrated over and over again in subsequent masterful creations of his that he is not content with the canvas others of his profession paint their work upon. In the age of disbelief, he appears to have something in mind that reaches beyond the redundant incredulity of others. And like any genius, he has no time to wait for biographers, critics and the like, to catch up to him. Unity of his vision will be in comprehension of his work en tota, rather than piecemeal.

That is, unless one has the frame of reference that it takes to do so now.

So, with my wife at the time, and at my bidding, Rick McLaren went to Dallas to a lecture given by David Oates. Something pricked his interest because his spill to Oates after the lecture about founding a trust that might fund his research (after the FBI had pulled out to go underground with their own, unfettered by the personal limitations of Mr. Oates;) and we were all given an invitation to Oates’ home just east of Dallas.

There I broached to Oates that the FBI had given various indications of advances in reverse speech he had not made. One of them could perhaps be found in this movie. He became hysterical and made excuses for having to end our visit. On the way out McLaren made effort for his own sell of his personal agenda to Oates while this reviewer comforted the man’s wife who seemed greatly alarmed. Not long afterwards their home burned down, their marriage dissolved and David Oates has become less and less significant to a field of study that has erected itself around new ideas on the relationship between conscious and sub-conscious minds. My wife became Mr. McLaren’s mistress and both headed up a renegaded faction of the Republic of Texas movement, started printing “treasury warrants” drawn on banks holding Texas state treasury funds and began using them instead of cash. Even leased a Lear jet, flew to Israel and negotiated the sell of some 2.8 billion dollars worth to a Zionist faction of the government. Then shot a neighbor where they live, at a resort community in the Davis Mountains, and kidnapped him and his wife.

There was a siege that made all the networks, a plea from McLaren for all militia to come to their aide and a man killed in the aftermath. My ex-wife got time in a federal prison that ended being cut in half and the many life sentences that Mr. McLaren was given were based on a trial whose verdict was overturned. Now the only person found from any kind of research with his full name owns a half-million dollar home in south Texas and Evelyn is running around in new SUVs.

Does anyone, even those directly involved have the ability to lay this out just as this reviewer has? And that’s a question parallel in significance to how no one, with this “cult classic of all cult classics”, even its actors, have the film. The question to ask is why? On all counts. It certainly hasn’t been from lack of interest, on all counts. Parallel universes converging and none the wiser. (In more ways than you might not think.)

Well, enough of the smart ass stuff. This movie’s success is in large part due to the haunting beauty and empathy wrenching performance of Sheryl Lee as Laura. Just part of Lynch’s ability to tie actors’ loyalty to himself and to the projections of the roles he guides them to perform. One of he most dramatic of performances seen by this reviewer, however, is that of Ray Wise, as Laura’s father, Leland Palmer. A very complex role, Mr. Wise carries it brilliantly. As with most all of any cast in a Lynch movie, it is comprised of gifted actors well directed.

The storyline will remain for sometime to come mysterious and evocative. Yet is is, for all its oddity, both coherent and compelling. We do not know, even as lovers, even as man and wife, if we are actually occupying the same consciousness of time and space. As our experiences deepen so seldom do our regard for each other and our empathy. This transgression of natural law can justify many of the seeming leaps taken by David Lynch. Just as the failings of modern science can justify our excursions into alternative theory and even alternative reality. As with his own personal little tale this reviewer is certain most everyone else has similar experiences…if they but care to think of them.

Give Mr. Lynch the consideration of this and you may find his story a great deal more interesting…just as has this reviewer.

Not for children…nor childish adults.