Mulholland Drive Imdb
Mulholland Drive Imdb Von David Lynch
Mulholland Dr. () Movies, TV, Celebs, and more Mulholland Drive, Hollywood Hills, Los Angeles, California, USA · 9 of 10 found this interesting. Mulholland Drive – Straße der Finsternis (Originaltitel: Mulholland Drive, auch: Mulholland Dr.) Quelle, Bewertung. Rotten Tomatoes. Kritiker. Publikum. Metacritic. Kritiker. Publikum. IMDb. Mulholland Drive (Mulholland Drive (IMDB)). Twin Peaks. Twin Peaks ist eine komplexe Serie aus den 90ern mit durchgehendem Handlungsstrang . Mulholland Drive. ()IMDb 8,02 Std. 26 Min Bei einem Autounfall auf den Hügeln über Hollywood verliert eine schwarzhaarige Schönheit ihr. Mulholland Drive France,USA IMDB Rating 8,0 () Darsteller: Naomi Watts, Laura Harring, Ann Miller, Dan Hedaya, Justin Theroux, Genre: Drama. Mulholland Drive on IMDB Begonnen von Anonymous over 13 years ago, 10 Antworten. Thread speichern. Mich bei Antworten benachrichtigen. Mulholland Drive hat in der International Movie Database (IMDB) mit 8 von 10 Punkten eine Top-Bewertung. Über Zuschauer gaben dem Film eine .
She recalled, "There were a lot of promises, but nothing actually came off. I ran out of money and became quite lonely. Roger Ebert and Jonathan Ross seem to accept this interpretation, but both hesitate to overanalyze the film.
Ebert states, "There is no explanation. There may not even be a mystery. Media theorist Siobhan Lyons similarly disagrees with the dream theory, arguing that it is a "superficial interpretation undermines the strength of the absurdity of reality that often takes place in Lynch's universe".
Instead, Lyons posits that Betty and Diane are in fact two different people who happen to look similar, a common motif among Hollywood starlets.
In a similar interpretation, Betty and Rita and Diane and Camilla may exist in parallel universes that sometimes interconnect. Another theory offered is that the narrative is a Möbius strip, a twisted band that has no beginning and no end.
Or the entire film is a dream, but whose dream is unknown. Repeated references to beds, bedrooms and sleeping symbolize the heavy influence of dreams.
Rita falls asleep several times; in between these episodes, disconnected scenes such as the men having a conversation at Winkie's, Betty's arrival in Los Angeles and the bungled hit take place, suggesting that Rita may be dreaming them.
The opening shot of the film zooms into a bed containing an unknown sleeper, instilling, according to film scholar Ruth Perlmutter, the necessity to ask if what follows is reality.
Professor of dream studies Kelly Bulkeley argues that the early scene at the diner, as the only one in which dreams or dreaming are explicitly mentioned, illustrates "revelatory truth and epistemological uncertainty in Lynch's film".
The monstrous being from the dream, who is the subject of conversation of the men in Winkie's, reappears at the end of the film right before and after Diane commits suicide.
Bulkeley asserts that the lone discussion of dreams in that scene presents an opening to "a new way of understanding everything that happens in the movie".
Philosopher and film theorist Robert Sinnerbrink similarly notes that the images following Diane's apparent suicide undermine the "dream and reality" interpretation.
After Diane shoots herself, the bed is consumed with smoke, and Betty and Rita are shown beaming at each other, after which a woman in the Club Silencio balcony whispers "Silencio" as the screen fades to black.
Sinnerbrink writes that the "concluding images float in an indeterminate zone between fantasy and reality, which is perhaps the genuinely metaphysical dimension of the cinematic image", also noting that it might be that the "last sequence comprises the fantasy images of Diane's dying consciousness, concluding with the real moment of her death: the final Silencio".
Film theorist David Roche writes that Lynch films do not simply tell detective stories, but rather force the audience into the role of becoming detectives themselves to make sense of the narratives, and that Mulholland Drive, like other Lynch films, frustrates "the spectator's need for a rational diegesis by playing on the spectator's mistake that narration is synonymous with diegesis".
In Lynch's films, the spectator is always "one step behind narration" and thus "narration prevails over diegesis".
Roche also notes that there are multiple mysteries in the film that ultimately go unanswered by the characters who meet dead ends, like Betty and Rita, or give in to pressures as Adam does.
Although the audience still struggles to make sense of the stories, the characters are no longer trying to solve their mysteries.
Roche concludes that Mulholland Drive is a mystery film not because it allows the audience to view the solution to a question, but the film itself is a mystery that is held together "by the spectator-detective's desire to make sense" of it.
A "poisonous valentine to Hollywood" Despite the proliferation of theories, critics note that no explanation satisfies all of the loose ends and questions that arise from the film.
Stephen Holden of The New York Times writes, "Mulholland Drive has little to do with any single character's love life or professional ambition.
The movie is an ever-deepening reflection on the allure of Hollywood and on the multiple role-playing and self-invention that the movie-going experience promises What greater power is there than the power to enter and to program the dream life of the culture?
Hoberman from The Village Voice echoes this sentiment by calling it a "poisonous valentine to Hollywood". Mulholland Drive has been compared with Billy Wilder's film noir classic Sunset Boulevard , another tale about broken dreams in Hollywood, and early in the film Rita is shown crossing Sunset Boulevard at night.
Apart from both titles being named after iconic Los Angeles streets, Mulholland Drive is "Lynch's unique account of what held Wilder's attention too: human putrefaction a term Lynch used several times during his press conference at the New York Film Festival in a city of lethal illusions".
The title of the film is a reference to iconic Hollywood culture. David Lynch lives near Mulholland Drive, and stated in an interview, "At night, you ride on the top of the world.
In the daytime you ride on top of the world, too, but it's mysterious, and there's a hair of fear because it goes into remote areas. You feel the history of Hollywood in that road.
As much as Lynch makes a statement about the deceit, manipulation and false pretenses in Hollywood culture, he also infuses nostalgia throughout the film and recognizes that real art comes from classic filmmaking as Lynch cast thereby paying tribute to veteran actors Ann Miller, Lee Grant and Chad Everett.
He also portrays Betty as extraordinarily talented and that her abilities are noticed by powerful people in the entertainment industry.
Commenting on the contrasting positions between film nostalgia and the putrefaction of Hollywood, Steven Dillon writes that Mulholland Drive is critical of the culture of Hollywood as much as it is a condemnation of "cinephilia" the fascination of filmmaking and the fantasies associated with it.
Harring described her interpretation after seeing the film: "When I saw it the first time, I thought it was the story of Hollywood dreams, illusion and obsession.
It touches on the idea that nothing is quite as it seems, especially the idea of being a Hollywood movie star.
The second and third times I saw it, I thought it dealt with identity. Do we know who we are? And then I kept seeing different things in it There's no right or wrong to what someone takes away from it or what they think the film is really about.
It's a movie that makes you continuously ponder, makes you ask questions. I've heard over and over, 'This is a movie that I'll see again' or 'This is a movie you've got to see again.
You want to get it, but I don't think it's a movie to be gotten. It's achieved its goal if it makes you ask questions.
In the pages of Film Comment, Philip Lopate states that the pivotal romantic interlude between Betty and Rita was made poignant and tender by Betty's "understanding for the first time, with self-surprise, that all her helpfulness and curiosity about the other woman had a point: desire It is a beautiful moment, made all the more miraculous by its earned tenderness, and its distances from anything lurid.
Betty and Rita were chosen by the Independent Film Channel as the emblematic romantic couple of the s. Writer Charles Taylor said, "Betty and Rita are often framed against darkness so soft and velvety it's like a hovering nimbus, ready to swallow them if they awake from the film's dream.
And when they are swallowed, when smoke fills the frame as if the sulfur of hell itself were obscuring our vision, we feel as if not just a romance has been broken, but the beauty of the world has been cursed.
The presence of mirrors and doppelgangers throughout the film "are common representations of lesbian desire". The co-dependency in the relationship between Betty and Rita—which borders on outright obsession—has been compared to the female relationships in two similar films, Ingmar Bergman's Persona and Robert Altman's 3 Women , which also depict identities of vulnerable women that become tangled, interchanging and ultimately merge: "The female couples also mirror each other, with their mutual interactions conflating hero ine worship with same-sex desire".
Lynch pays direct homage to Persona in the scene where Rita dons the blonde wig, styled exactly like Betty's own hair. Rita and Betty then gaze at each other in the mirror "drawing attention to their physical similarity, linking the sequence to theme of embrace, physical coupling and the idea of merging or doubling".
Mirroring and doubles, which are prominent themes throughout the film, serve to further queer the form and content of the film. Simultaneously, he presents the tragic lesbian triangle, "in which an attractive but unavailable woman dumps a less attractive woman who is figured as exclusively lesbian", perpetuating the stereotype of the bisexual "ending up with a man".
Love's analysis of the film notes the media's peculiar response to the film's lesbian content: "reviewers rhapsodized in particular and at length about the film's sex scenes, as if there were a contest to see who could enjoy this representation of female same-sex desire the most.
Popular reaction to the film suggests the contrasting relationships between Betty and Rita and Diane and Camilla are "understood as both the hottest thing on earth and, at the same time, as something fundamentally sad and not at all erotic" as "the heterosexual order asserts itself with crushing effects for the abandoned woman".
Heterosexuality as primary is important in the latter half of the film, as the ultimate demise of Diane and Camilla's relationship springs from the matrimony of the heterosexual couple.
At Adam's party, they begin to announce that Camilla and Adam are getting married; through laughs and kisses, the declaration is delayed because it is obvious and expected.
The heterosexual closure of the scene is interrupted by ta scene change. As Lee Wallace suggests, by planning a hit against Camilla, "Diane circumvents the heterosexual closure of the industry story but only by going over to its storyworld, an act that proves fatal for both women, the cause and effect relations of the thriller being fundamentally incompatible with the plot of lesbianism as the film presents it".
For Joshua Bastian Cole, Adam's character serves as Diane's foil, what she can never be, which is why Camilla leaves her.
In her fantasy, Adam has his own subplot which leads to his humiliation. While this subplot can be understood as a revenge fantasy born from jealousy, Cole argues that this is an example of Diane's transgender gaze: "Adam functions like a mirror- a male object upon which Diane might project herself".
Diane's prolonged eye-contact with Dan at Winkie's is another example of the trans gaze. He stresses that the lesbian understanding of the film has overshadowed potential trans interpretations; his reading of Diane's trans gaze is a contribution to the queer narrative of the film.
Media portrayals of Naomi Watts' and Laura Elena Harring's views of their onscreen relationships were varied and conflicting.
Watts said of the filming of the scene, "I don't see it as erotic, though maybe it plays that way. The last time I saw it, I actually had tears in my eyes because I knew where the story was going.
It broke my heart a little bit. These girls look really in love and it was curiously erotic. Rita's very grateful for the help Betty's given so I'm saying goodbye and goodnight to her, thank you, from the bottom of my heart, I kiss her and then there's just an energy that takes us.
Of course I have amnesia so I don't know if I've done it before, but I don't think we're really lesbians. Her perkiness and intrepid approach to helping Rita because it is the right thing to do is reminiscent of Nancy Drew for reviewers.
But it is Betty's identity, or loss of it, that appears to be the focus of the film. For one critic, Betty performed the role of the film's consciousness and unconscious.
Naomi Watts, who modeled Betty on Doris Day, Tippi Hedren and Kim Novak, observed that Betty is a thrill-seeker, someone "who finds herself in a world she doesn't belong in and is ready to take on a new identity, even if it's somebody else's".
In an explanation of her development of the Betty character, Watts stated: I had to therefore come up with my own decisions about what this meant and what this character was going through, what was dream and what was reality.
My interpretation could end up being completely different, from both David and the audience. But I did have to reconcile all of that, and people seem to think it works.
Betty, however difficult to believe as her character is established, shows an astonishing depth of dimension in her audition. Previously rehearsed with Rita in the apartment, where Rita feeds her lines woodenly, the scene is "dreck" and "hollow; every line unworthy of a genuine actress's commitment", and Betty plays it in rehearsal as poorly as it is written.
Nervous but plucky as ever at the audition, Betty enters the cramped room, but when pitted inches from her audition partner Chad Everett , she turns it into a scene of powerful sexual tension that she fully controls and draws in every person in the room.
The sexuality erodes immediately as the scene ends and she stands before them shyly waiting for their approval. One film analyst asserts that Betty's previously unknown ability steals the show, specifically, taking the dark mystery away from Rita and assigning it to herself, and by Lynch's use of this scene illustrates his use of deception in his characters.
Betty's acting ability prompts Ruth Perlmutter to speculate if Betty is acting the role of Diane in either a dream or a parody of a film that ultimately turns against her.
Rita Laura Elena Harring is the mysterious and helpless apparent victim, a classic femme fatale with her dark, strikingly beautiful appearance.
Roger Ebert was so impressed with Harring that he said of her "all she has to do is stand there and she is the first good argument in 55 years for a Gilda remake".
She serves as the object of desire, directly oppositional to Betty's bright self-assuredness. She is also the first character with whom the audience identifies, and as viewers know her only as confused and frightened, not knowing who she is and where she is going, she represents their desire to make sense of the film through her identity.
Instead of threatening, she inspires Betty to nurture, console and help her. Her amnesia makes her a blank persona, which one reviewer notes is "the vacancy that comes with extraordinary beauty and the onlooker's willingness to project any combination of angelic and devilish onto her".
A character analysis of Rita asserts that her actions are the most genuine of the first portion of the film, since she has no memory and nothing to use as a frame of reference for how to behave.
Todd McGowan, however, author of a book on themes in Lynch's films, states that the first portion of Mulholland Drive can be construed as Rita's fantasy, until Diane Selwyn is revealed; Betty is the object that overcomes Rita's anxiety about her loss of identity.
According to film historian Steven Dillon, Diane transitions a former roommate into Rita: following a tense scene where the roommate collects her remaining belongings, Rita appears in the apartment, smiling at Diane.
After Betty and Rita find the decomposing body, they flee the apartment and their images are split apart and reintegrated.
David Roche notes that Rita's lack of identity causes a breakdown that "occurs not only at the level of the character but also at the level of the image; the shot is subjected to special effects that fragment their image and their voices are drowned out in reverb, the camera seemingly writing out the mental state of the characters".
Immediately they return to Betty's aunt's apartment where Rita dons a blonde wig—ostensibly to disguise herself—but making her look remarkably like Betty.
It is this transformation that one film analyst suggests is the melding of both identities. This is supported by visual clues, like particular camera angles making their faces appear to be merging into one.
This is further illustrated soon after by their sexual intimacy, followed by Rita's personality becoming more dominant as she insists they go to Club Silencio at 2 a.
Diane Selwyn Naomi Watts is the palpably frustrated and depressed woman, who seems to have ridden the coattails of Camilla, whom she idolizes and adores, but who does not return her affection.
She is considered to be the reality of the too-good-to-be-true Betty, or a later version of Betty after living too long in Hollywood.
For Steven Dillon, the plot of the film "makes Rita the perfect empty vessel for Diane's fantasies", but because Rita is only a "blank cover girl" Diane has "invested herself in emptiness", which leads her to depression and apparently to suicide.
Hence, Diane is the personification of dissatisfaction, painfully illustrated when she is unable to climax while masturbating, in a scene that indicates "through blurred, jerky, point of view shots of the stony wall—not only her tears and humiliation but the disintegration of her fantasy and her growing desire for revenge".
One analysis of Diane suggests her devotion to Camilla is based on a manifestation of narcissism, as Camilla embodies everything Diane wants and wants to be.
Although she is portrayed as weak and the ultimate loser, for Jeff Johnson, author of a book about morality in Lynch films, Diane is the only character in the second portion of the film whose moral code remains intact.
She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry". Her guilt and regret are evident in her suicide, and in the clues that surface in the first portion of the film.
Rita's fear, the dead body and the illusion at Club Silencio indicate that something is dark and wrong in Betty and Rita's world.
In becoming free from Camilla, her moral conditioning kills her. Camilla Rhodes Melissa George, Laura Elena Harring is little more than a face in a photo and a name that has inspired many representatives of some vaguely threatening power to place her in a film against the wishes of Adam.
This portion connects with other unpaved roads and bike trails and allows access to a decommissioned Project Nike command post that is now a Cold War memorial park.
Shortly thereafter, the thoroughfare splits into Mulholland Drive and Mulholland Highway. Mulholland Drive terminates at U.
From Wikipedia, the free encyclopedia. This article is about the street. For the film, see Mulholland Drive film.
This article is about the highway east of Calabasas. For the road to its west, see Mulholland Highway.
Rodolphe 16 December Psychology Press. Retrieved 9 August One for the Road. Pier 9. LA Mountains. Retrieved August 9, Roth July Technology and Culture.
Streets in Los Angeles and the metropolitan area. Alameda Alvarado Atlantic Blvd. Avalon Blvd. Aviation Blvd. Beverly Dr.
Broadway Cahuenga Blvd. Central Ave. Crenshaw Blvd. Doheny Dr. Fairfax Ave. Figueroa Garfield Ave. Glendale Blvd. Gower Grand Avenue Highland Ave.
Hill Hoover La Brea Ave. La Cienega Blvd. Laurel Canyon Blvd. Lincoln Blvd. Los Angeles Main Normandie Ave.
Ocean Ave. Robertson Blvd. Rosemead Blvd. San Fernando Rd. San Pedro Sawtelle Blvd. In becoming free from Camilla, her moral conditioning kills her.
Camilla Rhodes Melissa George, Laura Elena Harring is little more than a face in a photo and a name that has inspired many representatives of some vaguely threatening power to place her in a film against the wishes of Adam.
Referred to as a "vapid moll" by one reviewer, [67] she barely makes an impression in the first portion of the film, but after the blue box is opened and she is portrayed by Laura Elena Harring, she becomes a full person who symbolizes "betrayal, humiliation and abandonment", [30] and is the object of Diane's frustration.
Diane is a sharp contrast to Camilla, who is more voluptuous than ever, and who appears to have "sucked the life out of Diane".
On a film set where Adam is directing Camilla, he orders the set cleared, except for Diane—at Camilla's request—where Adam shows another actor just how to kiss Camilla correctly.
Instead of punishing Camilla for such public humiliation, as is suggested by Diane's conversation with the bungling hit man, one critic views Rita as the vulnerable representation of Diane's desire for Camilla.
Adam Kesher Justin Theroux is established in the first portion of the film as a "vaguely arrogant", [69] but apparently successful, director who endures one humiliation after another.
Theroux said of his role, "He's sort of the one character in the film who doesn't know what the [hell's] going on.
I think he's the one guy the audience says, 'I'm kind of like you right now. I don't know why you're being subjected to all this pain.
After he checks into a seedy motel and pays with cash, the manager arrives to tell him that his credit is no good. Witnessed by Diane, Adam is pompous and self-important.
He is the only character whose personality does not seem to change completely from the first part of the film to the second. Roque Michael J.
Anderson , all of whom are somehow involved in pressuring Adam to cast Camilla Rhodes in his film. These characters represent the death of creativity for film scholars, [64] [71] and they portray a "vision of the industry as a closed hierarchical system in which the ultimate source of power remains hidden behind a series of representatives".
Coco, in the first part of the film, represents the old guard in Hollywood, who welcomes and protects Betty.
In the second part of the film, however, she appears as Adam's mother, who impatiently chastises Diane for being late to the party and barely pays attention to Diane's embarrassed tale of how she got into acting.
The filmmaking style of David Lynch has been written about extensively using descriptions like "ultraweird", [46] "dark" [40] and "oddball".
By using these characters in scenarios that have components and references to dreams, fantasies and nightmares, viewers are left to decide, between the extremes, what is reality.
One film analyst, Jennifer Hudson, writes of him, "Like most surrealists, Lynch's language of the unexplained is the fluid language of dreams. David Lynch uses various methods of deception in Mulholland Drive.
A shadowy figure named Mr. Roque, who seems to control film studios, is portrayed by dwarf actor Michael J.
Anderson also from Twin Peaks. Anderson, who has only two lines and is seated in an enormous wooden wheelchair, was fitted with oversized foam prosthetic arms and legs in order to portray his head as abnormally small.
Both then turn and smile pointedly at Diane. Film critic Franklin Ridgway writes that the depiction of such a deliberate "cruel and manipulative " act makes it unclear if Camilla is as capricious as she seems, or if Diane's paranoia is allowing the audience only to see what she senses.
In actuality, it is a sound stage where Betty has just arrived to meet Adam Kesher, that the audience realizes as the camera pulls back further. Ridgway insists that such deception through artful camera work sets the viewer full of doubt about what is being presented: "It is as if the camera, in its graceful fluidity of motion, reassures us that it thinks it sees everything, has everything under control, even if we and Betty do not.
According to Stephen Dillon, Lynch's use of different camera positions throughout the film, such as hand-held points of view, makes the viewer "identify with the suspense of the character in his or her particular space", but that Lynch at moments also "disconnects the camera from any particular point of view, thereby ungrounding a single or even a human perspective" so that the multiple perspectives keep contexts from merging, significantly troubling "our sense of the individual and the human".
The first portion of the film that establishes the characters of Betty, Rita and Adam presents some of the most logical filmmaking of Lynch's career.
Diane's scenes feature choppier editing and dirtier lighting that symbolize her physical and spiritual impoverishment, [40] which contrasts with the first portion of the film where "even the plainest decor seems to sparkle", Betty and Rita glow with light and transitions between scenes are smooth.
In the darker part of the film, sound transitions to the next scene without a visual reference where it is taking place.
At Camilla's party, when Diane is most humiliated, the sound of crashing dishes is heard that carries immediately to the scene where dishes have been dropped in the diner, and Diane is speaking with the hit man.
Sinnerbrink also notes that several scenes in the film, such as the one featuring Diane's hallucination of Camilla after Diane wakes up, the image of the being from behind Winkie's after Diane's suicide, or the "repetition, reversal and displacement of elements that were differently configured" in the early portion of the film, creates the uncanny effect where viewers are presented with familiar characters or situations in altered times or locations.
Another recurring element in Lynch's films is his experimentation with sound. He stated in an interview, "you look at the image and the scene silent, it's doing the job it's supposed to do, but the work isn't done.
When you start working on the sound, keep working until it feels correct. There's so many wrong sounds and instantly you know it.
Sometimes it's really magical. After Lynch added "a hint of the steam [from the wreck] and the screaming kids", however, it transformed Laura Elena Harring from clumsy to terrified.
Neil Shurley, [81]. Reviewers note that Badalamenti's ominous score, described as his "darkest yet", [85] contributes to the sense of mystery as the film opens on the dark-haired woman's limousine, [86] that contrasts with the bright, hopeful tones of Betty's first arrival in Los Angeles, [82] with the score "acting as an emotional guide for the viewer".
Lynch uses two pop songs from the s directly after one another, playing as two actresses are auditioning by lip synching them.
According to an analyst of music used in Lynch films, Lynch's female characters are often unable to communicate through normal channels and are reduced to lip-synching or being otherwise stifled.
At the hinge of the film is a scene in an unusual late night theater called Club Silencio where a performer announces " No hay banda there is no band Described as "the most original and stunning sequence in an original and stunning film", [40] Rebekah Del Rio 's Spanish a cappella rendition of " Crying ", named "Llorando", is praised as "show-stopping Lynch wrote a part for her in the film and used the version she sang for him in Nashville.
According to one film scholar, the song and the entire theater scene marks the disintegration of Betty's and Rita's personalities, as well as their relationship.
Since its release, Mulholland Drive has received "both some of the harshest epithets and some of the most lavish praise in recent cinematic history".
The website's critical consensus reads, "David Lynch's dreamlike and mysterious Mulholland Drive is a twisty neo-noir with an unconventional structure that features a mesmerizing performance from Naomi Watts as a woman on the dark fringes of Hollywood.
Roger Ebert of the Chicago Sun-Times , who had previously been dismissive of Lynch's work, awarded the film four stars and said, "David Lynch has been working toward Mulholland Drive all of his career, and now that he's arrived there I forgive him for Wild at Heart and even Lost Highway This sinful pleasure is a fresh triumph for Lynch, and one of the best films of a sorry-ass year.
For visionary daring, swooning eroticism and colors that pop like a whore's lip gloss, there's nothing like this baby anywhere.
Hoberman of The Village Voice stated, "This voluptuous phantasmagoria The very things that failed him in the bad-boy rockabilly debacle of Lost Highway —the atmosphere of free-floating menace, pointless transmigration of souls, provocatively dropped plot stitches, gimcrack alternate universes—are here brilliantly rehabilitated.
Scott of The New York Times wrote that, while some might consider the plot an "offense against narrative order", the film is "an intoxicating liberation from sense, with moments of feeling all the more powerful for seeming to emerge from the murky night world of the unconscious".
Mulholland Drive was not without its detractors. Rex Reed of The New York Observer said that it was the worst film he had seen in , calling it "a load of moronic and incoherent garbage".
Lynch needs to renew himself with an influx of the deep feeling he has for people, for outcasts, and lay off the cretins and hobgoblins and zombies for a while.
Although such tactics are familiar from Twin Peaks and elsewhere, the sudden switcheroo to head games is disappointing because, up to this point, Lynch had so wonderfully succeeded in creating genuine involvement.
He throws everything into the mix with the lone goal of confusing us. Nothing makes any sense because it's not supposed to make any sense.
There's no purpose or logic to events. Lynch is playing a big practical joke on us. You wouldn't need doppelgangers and shadow-figures if your characters had souls.
Mulholland Drive is the monster behind the diner; it's the self-delusional dream turned into nightmare. In a BBC poll, it was ranked 21st among all American films.
It was released without chapter stops, a feature that Lynch objects to on the grounds that it "demystifies" the film. On July 15, , The Criterion Collection announced that it would release Mulholland Drive , newly restored through a 4K digital transfer, on DVD and Blu-ray on October 27, , both of which include new interviews with the film's crew and the edition of Chris Rodley's book Lynch on Lynch , along with the original trailer and other extras.
Lynch was nominated for an Academy Award for Best Director for the film. From Wikipedia, the free encyclopedia. Not to be confused with the film Mulholland Falls.
Theatrical release poster. Release date. Running time. Darby Michael J. One night, I sat down, the ideas came in, and it was a most beautiful experience.
The clues are: Pay particular attention in the beginning of the film: At least two clues are revealed before the credits.
Notice appearances of the red lampshade. Can you hear the title of the film that Adam Kesher is auditioning actresses for?
Is it mentioned again? An accident is a terrible event—notice the location of the accident. Who gives a key, and why? Notice the robe, the ashtray, the coffee cup.
What is felt, realized and gathered at the Club Silencio? Did talent alone help Camilla? Note the occurrences surrounding the man behind Winkie's.
Where is Aunt Ruth? Harring as the dark-haired woman. Gilda poster The dark-haired woman assumes the name "Rita" after seeing the name on a poster.
Her search for her identity has been interpreted by film scholars as representing the audience's desire to make sense of the film.
The album progresses much like a typical Lynch film, opening with a quick, pleasant Jitterbug and then slowly delving into darker string passages, the twangy guitar sounds of '50s diner music and, finally, the layered, disturbing, often confusing underbelly of the score.
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New York. Archived from the original on October 18, The Washington Post. Archived from the original on March 5,
Mulholland Drive Imdb Mulholland Drive (film) Video
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Mulholland Drive: Die Entschlüsselung. We have detected English as your language preference.
It is this transformation that one film analyst suggests is the melding of both identities. The dark-haired woman assumes the name "Rita" after seeing the name on a poster. Archived from the Shahid Kapoor Filme on August 25, New York: Routledge. He tells her she will find Ritas Welt Darsteller blue Bugatti Chiron in her apartment when the job is completed. Since its The Wolf Of Wall Street Kkiste, Mulholland Drive has Kostenlos Prison Break Anschauen "both some of the harshest epithets and some of the most lavish praise in recent cinematic history". Retrieved March 3, It lost texture, big scenes and storylines, and there are tape copies of the bad version circulating around. Archived from the original on September 8, Mulholland Drive Imdb Navigation menu Video
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