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Mar 13, 2002 · The ‘dream factory’ atmosphere of Mulholland Drive is compounded by an element common to all Lynch’s neo-noirs but never more appropriate than here: the retro-’50s imagery. While not quoting any particular film, Lynch uses this look to evoke media-memories of an ‘innocent’ America.
- Maximilian Le Cain
- Mulholland Drive Explained - What Is The Dream Theory?
- Which Clues Reveal It’S A Dream?
- What Do Betty and Rita represent?
- What Happens in The Car Crash?
- Who Is The Hitman?
- Who Is The ‘Monster’ Behind The Winkie’S?
- Who Are The Old Couple - and What Do They Mean in The Film?
- What Happens at The End of Mulholland Drive?
According to one of the most common - and surprisingly coherent - interpretations of Lynch’s film, the first part of Mulholland Drive is best understood as a dream sequence, in which elements of the ‘real’ story are explored in heightened or distorted ways, until the protagonist Diane wakes up. It’s a clever play, too, on Hollywood as a dream facto...
Just before the film’s opening credits, we see a bed with red sheets, arguably our first hint that what is about to unfold is happening in the dream world; the same bed and sheets are later seen when Betty and Rita visit the apartment with the dead body, and then again when Betty / Diane wakes from the dream. The character Louise, the next-door nei...
One way of looking at Mulholland Drive’s first section is as a comment on Hollywood movie-making, and how the industry can flatten stories and characters into easily digestible tropes and characters as a way of making sense of the world. It follows then, that both Betty and Rita, the dream versions of the more fraught and complicated Diane and Cami...
We first meet Rita when she is sitting in the back of a limo, and is surprised when the driver pulls over at an unexpected stop along Mulholland Drive, up in the Hollywood Hills. A man in the front of the car pulls out a gun, and it seems that he is about to shoot her - perhaps foreshadowing Camilla’s actual death offscreen at the hands of the hitm...
In the film’s first section, Joe (Mark Pellegrino) is a clumsy hitman who messes up an attempt to steal a little black book, killing not only the target but a woman in the next room, and the janitor who witnesses the murder, before triggering the fire alarm. It’s a darkly comic sequence where the slapstick humour sits unsettlingly alongside the spa...
Towards the beginning of the film, a man named Dan, who is sitting in a Winkie’s diner, explains that he had a nightmare where he saw a terrifying figure behind the same restaurant. When he checks around the back, the strange man appears, causing him (and probably viewers of a nervous disposition) to collapse in fright. The same man appears again t...
We first meet Betty when she emerges from LAX airport, accompanied by an old lady, who we soon learn is named Irene, and an elderly man. The pair reiterate how nice it was to travel with Betty, and wish her well in her attempts to crack Hollywood, promising to watch out for her “on the big screen”. It seems like a sweet farewell, but this is a Lync...
Cornered by the vision of the old couple, Diane reaches into a drawer to pull out a gun, then shoots herself. After Diane dies and everything fades to black, we see her and Camilla’s - or should that be Betty and Rita’s? - smiling faces superimposed over the bright lights of Los Angeles. It’s reminiscent of an old-fashioned movie poster, as if Dian...
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Jun 19, 2014 · The final twenty minutes of Mulholland Drive reveal that the first two hours contained a fantasy narrative created in Diane’s dream. The second segment, then, destroys the illusion that viewers may have had that the world depicted for the first two hours was a “real” representation of a preferable version of contemporary American life, one that by and large tries to hold onto nostalgic ...
David Lynch. Photo: Miguel Villalobos. D avid Lynch describes his latest film, Mulholland Drive, as, simply, “a love story in the city of dreams.”. Indeed, “dreamlike” is an adjective that has attached itself to the director’s work from the start. From the child’s nocturnal imagining of The Grandmother to the anxious nightmare of ...
Jun 9, 2016 · Hollywood is a fantasy town, owned and operated by dream makers and schemers. It’s not for the literal and it isn’t for the rest of the world. It exists on its own and creates dreamers and delusional, tormented people. Mulholland Dr. is a tragedy of Hollywood wrapped in a mystery whose details are, maybe, of little importance. What ...
Sep 26, 2001 · Mulholland Drive isn’t a movie about dreams, it is a dream (or, at least, until the blue box is opened)—a Hollywood horror story spun by a frustrated actress yet to cross into consciousness. Lynch’s narrative is carefully configured, painstakingly difficult to decipher, but boldly obvious should one embrace its dream logic.
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Avinash Prabhakaran. David Lynch's "Mulholland Drive" is a cinematic puzzle, a surreal exploration of the dark underbelly of Los Angeles, identity, and the elusive nature of dreams. Released in 2001, the film continues to captivate and mystify audiences with its intricate storytelling, enigmatic characters, and dreamlike narrative.
