Teenage Girls in Trouble, Pre- and Post-Peaks

Recently, I watched two films that I had no idea would correlate so directly, much less would create a bridge with one of the internet’s favorite TV shows, Twin Peaks. Alberto Negrin’s 1978 Enigma Rosso (also known as Virgin Killer, also known as Red Rings of Fear – it’s one of those films that has a million amazing names, but also is hard to get any information about because everyone calls it something different) and Joel Anderson’s 2008 Lake Mungo both share the conceit of the suspicious death of a teenage girl, whose life, upon further inspection, is less peaches and cream than it looks from the outside. This, of course, is the case with Laura Palmer, Peaks‘ omnipresent murder victim, a homecoming queen turned murder victim, who actually was addicted to cocaine and worked at a local brothel. Enigma Rosso and Lake Mungo, as different as they are on the surface, present an interesting pre- and post-Peaks look at what the girl in trouble movie is.

Engima Rosso is a relatively obscure giallo, starring genre great Fabio Testi as a detective looking into the murder of a local schoolgirl with a very close group of friends. Of course, since nothing is ever as it seems at Catholic girls’ schools, it turns out the group of friends were into some wild stuff, and someone is killing them to keep their mouths shut. Or to get revenge. While not a great film, Enigma Rosso is certainly an enjoyable watch, much of which is because of Testi, a consummate cool guy as always. He forces a suspect onto a roller coaster and chokes him to get answers, for Pete’s sake! But if that was all that was good about the film, I wouldn’t feel compelled to write about it.

The film starts with Testi’s detective being called to the scene of the crime, and finding the bruised, abused naked body of a teenage girl wrapped in plastic. The above image should be familiar to anyone who’s seen even the first episode of Twin Peaks, and makes me pretty sure that David Lynch saw this film before creating his Laura Palmer. The girls in Enigma Rosso aren’t in quite as deep as Laura, but they do also work in a brothel (I think? At least, they have sex with older men regularly – the plot of the film is admittedly a little hard to follow at times), and one girl goes through a traumatic abortion that would not have seemed out of place in Twin Peaks. While Peaks is, clearly, the better product, Enigma Rosso is a different beast, taking the slightly grimy route giallo fans love (the victim’s death – by dildo, I kid you not – is shown in juicy detail), giving the audience the dirt on these girls without really caring about them.

Lake Mungo, by contrast, takes a more contemporary genre look at the death of an unknown bad girl; it’s a found footage horror film about the increasingly supernatural circumstances surrounding the death of teenaged Alice Palmer (already the similarities!). Alice was enjoying a day at the lake with her family, when she simply disappears. After a few agonizing days, her body is dredged from the water, and it’s determined that she drowned while swimming in the dam. Alice’s father identifies the body, leaving her mother without a sense of closure. It’s this lack of closure that leads Alice’s family to a psychic, the information from whom starts to unravel the mystery of who Alice really was.

Lake Mungo is less sleazy than Enigma Rosso about its protagonist’s double life, but Alice’s family finds out secrets that differ only a little from the Italian girls’: Alice had been sleeping with the couple for whom she had been babysitting, and possibly doing drugs with them (or, being drugged by them). Alice’s family finds grainy videotapes of one rendezvous, and even though the action is not explicitly portrayed, Alice’s slurred, druggy flirtations is enough to be painful to her family, and the audience as well. Lake Mungo takes a slow, supernatural approach to what is a very physical revelation; in that way, we can see the influence Twin Peaks had on the story. Alice’s ghost haunts the family (and the film), just as Laura’s apparition haunts the characters in Twin Peaks.

For two films that I had no idea would have anything in common, I found a pretty interesting bridge from the giallo to the found footage supernatural horror film: Twin Peaks. Lynch’s masterpiece ties together the two genres, exemplified by these two films, through that eternal trope of the undercover bad girl, and her murder.

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