There's Fire Where You Are Going
...like my favorite Mulholland Drive scene, when we first meet the hitman...
Great stuff, Jesse. I don't think you're reading too much into anything you mentioned. -
One thing I take exception to, though, is in characterizing that scene in Mulholland Drive as "poorly acted." As with many Lynch film scenes with dialogue that can almost sound amateurishly written, the acting is sincere and focused - you're reacting to what those performances can seem like because of the odd material.
It's a bit like the tendency to think that in some of the truly bad, low budget sci-fi and horror movies of the '50's, that the acting is "bad," when actually the actors are doing a good job. They just don't have the support of a good script, good cinematography or direction. They can look ridiculous even while giving heartfelt performances, because of the context of the movie they're in. The difference between those movies and Lynch is that they are just inept, while Lynch is purposeful.
In The Return, the odd Wally Brando scene is probably a good example of it being difficult to know how to react. My wife and I were watching, both our jaws a bit dropped in amazement over how peculiar the scene was, and she asked, "Is this guy just really bad, or is he supposed to be that way?" - In that particular case, I couldn't honestly say that I thought Michael Cera was giving a "good" performance - that unnatural, unbelievable, stoic monotone may be the best he's capable of - but I had no doubt that what ended up on film was to Lynch's liking. He wouldn't have included the scene if it wasn't what he wanted.
One caveat about my rambling response - I'm an actor, and sensitive to people's reactions to performances. Generally, I have the impression that a lot of people don't actually appreciate or understand acting, and their reactions and critiques can be off mark.
- Well, my main point, though, is that I don't think it's accurate to say the scene in Mullholland Drive was "poorly acted." If this reply doesn't make sense to you, I'm admitting - I'm an actor defending fellow actors! 😎
Back to the theme of repetition & duality, at the beginning of the phone call Margaret asks Hawk if he can hear her - twice. Hawk responded affirmatively both times, but with very different inflection. Is there a duality in Hawk that Margaret's aware of, and is this why he's the only character we've seen Margaret interact with this season?
"White fire which doesn't burn".
Are you talking about that little girl that got murdered?
But then again, Lynch has described his work as a painting for everyone to read and interpret as they wish.
Yes, Tolkien was exactly the same in the way he wanted people to interpret/draw parallels with the One Ring (people were likening it to nuclear power etc); he wanted it all to be non-allegorical.