The Blue in Laura Palmer's spiritual portrait represents her dominant personality trait, her preference for seeing the world in terms of ideas more than facts. In Extraverts, the dominant trait is directed outwardly, and spiritual portraits use a long vertical line to represent this, because it is the side of their personality that is most evident. She exhibits this trait in the way her conversations with others, especially her close friends and lovers, often take on a dreamy, surrealistic quality.
The Red in Laura Palmer's spiritual portrait represents her auxiliary personality trait, her passion and warmth. In Extraverts, the auxiliary trait is directed inwardly, and spiritual portraits use a horizontal line to represent this. She exhibits this trait in the way she is friendly and popular with her friends, schoolmates, and other acquaintances.
As the beautiful Homecoming Queen of Twin Peaks High School, Laura Palmer is popular and has every reason to be ....
As the beautiful Homecoming Queen of Twin Peaks High School, Laura Palmer is popular and has every reason to be happy. She has secrets, though — including multiple boyfriends and a cocaine habit.
Life Is but a Dream
The iconic Sheryl Lee is excellent in the role, portraying Laura as a girl who has the world at her fingertips. In the days before her murder, however, she is quickly losing touch with reality.
The Blue in Laura Palmer's portrait — representing her preference for ideas over facts — reveals this tendency. And the following excerpt from a casual conversation with her best friend Donna Hayward one lazy afternoon shows how she all too willing to let go of reality and drift into a world of fantasy:
Donna: Do you think that if you were falling in space, that you would slow down after a while, or go faster and faster?
Laura: Faster and faster. And for a long time, you wouldn't feel anything. And then you'd burst into fire. Forever. And the angels wouldn't help you, because they've all gone away.
— From Twin Peaks: Fire Walk With Me, 1992.
And in Laura's case, her imagination drifts into darker and darker places.
That Fatalistic Feeling
Because the film came out a year after the series ended, it is difficult to imagine a viewer who did not know the outcome of the movie before seeing it. And naturally, as the movie progresses, the overriding sense of doom likewise becomes progressively more and more palpable.
[Puts her hand on Laura's forehead, as if to feel her temperature.]When this kind of fire starts, it is very hard to put out. The tender boughs of innocence burn first. And the wind rises, and then, all goodness is in jeopardy.
[Allows her hand to drift downward to Laura's cheek, then down further to briefly hold her hand before releasing it and walking away.]
— The Log Lady in Twin Peaks: Fire Walk With Me, 1992.
The Log Lady makes it plain that she does not need drugs to have a tenuous grip on reality.
R.I.P. Laura Palmer
In the television series, James Hurley — one of Laura's boyfriends — tells the police about his last date with Laura, on the night she was killed. The movie brings this scene to life:
James: What the hell's wrong with you?
Laura: [Obviously high.] That's right. There's no place left to go, is there, James?
James: What the hell's that supposed to mean?
Laura: You know it, and I know it.
James: What's wrong with us? We have everything.
Laura: Everything but everything.
Laura: Right. Open your eyes, James. You don't even know me. There are things about me, even Donna doesn't know me. Your Laura disappeared. It's just me now.
— From Twin Peaks: Fire Walk with Me, 1992.
Laura's final hours are horrific, but they bring closure.
R.I.P. Laura Palmer, R.I.P.
This spiritual portrait is based on the movie Twin Peaks: Fire, Walk With Me.