Pilar Andrade, "Cinema's Doubles, Their Meaning, and Literary Intertexts" page 8 of 9
CLCWeb: Comparative Literature and Culture 10.4 (2008): <http://docs.lib.purdue.edu/clcweb/vol10/iss4/8>
Thematic issue New Studies on the Fantastic in Literature. Ed. Asunción López-Varela
ema, such as music, range restriction, quick zooms on an object or face, adequate lighting effects
or intelligent chiaroscuros, the climate created at night, etc. Lynch has also a very personal tech-
nique to create supernatural situations: he associates two images, apparently disconnected, that
can be inserted in an ominous world parallel to the real one. It is not exactly the equivalent of a
literary metaphor (there are indeed filmic metaphors of this kind) but of an irrational analogy used
with a clearly fantastic aim. The film maker, like the surrealist poet, wants to introduce supra-
reality into the real world of the plot. We can see this trick in, for instance, the scene with the old
couple in Mulholland Drive. The way they laugh after they have seen off the young protagonist is
exaggerated and by no means motivated by the previous events. This laugh, in fact, connects with
the unreal realm, the pure fantastic, represented also with the usual symbols of Lynch's work: blue
objects, the theatre, the dwarf, etc. However, the matrix of Mulholland Drive and Twin Peaks is the
double. In both movies the two main characters are women, different and complementary.
Throughout the story they will become connected and, particularly in the first film, the couple ap-
pears to reflect a twin relation. That is the reason why when they split up one of them must die --
tragedy is always prowling around in twins' stories. Lesbianism in this film seems to subsumed
under the double's theme, and from there it leads, paradoxically, to a reflection about unity, be-
cause attraction for the other means at last attraction for oneself, a narcissist tendency and, as a
result, death-drive, out of the reality. We can also point here, however briefly, to another impor-
tant duplication: the more intellectual one made between the author (the real man) and his alter
ego (the writer or director). Borges in literature, Cukor in cinema (A Double Life, 1947) have given
good examples of the complexity of this variation, and some decades ago, King wrote The Dark
Half, anchored in the fantastic and quickly adapted to the screen by George A. Romero (1993).
In conclusion, the double is a fertile theme included in the fantastic that has been chosen by
many directors and writers to deal with our fears and our anguish but also to embody our desires,
although sometimes is has been a helping character as well. The presence of a double is perceived
in most cases as a threat, an uncanny appearance, although sometimes the Doppelgänger can
help. In many case he forces to question the rules of our ordinary judgement; his potential as a
fantastic element rests perhaps on this effect and that is possibly the reason why he has inspired
so many directors and writers in contemporary Western culture.
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Author's profile: Pilar Andrade teaches French literature and comparative literature at Complutense University
Madrid. Andrade's book publications include El universo poético en la obra de Pierre Emmanuel (1993), La