She was offered the part two weeks later. The last time I saw it, I actually had tears in my eyes because I knew where the story was going. MULHOLLAND DRIVE (2001) had me on the hook the first two times that I watched the film. Mulholland Drive [Dr.] (2001) – Movie Explanation! [64] 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". There may not even be a mystery." She found Betty too one-dimensional without the darker portion of the film that was put together afterward. Swap.Family projects enters the mainstream stage of production… meaning you can see the videos right away. One film analyst, Jennifer Hudson, writes of him, "Like most surrealists, Lynch's language of the unexplained is the fluid language of dreams. [15] Watts arrived wearing jeans for the first interview, direct from the airplane from New York City. . She's not just 'in' trouble—she is trouble. 1 Helpful vote. [50] Mirroring and doubles, which are prominent themes throughout the film, serve to further queer the form and content of the film. The person who saw it, according to Lynch, was watching it at six in the morning and was having coffee and standing up. After viewing Lynch's cut, however, television executives rejected it. Betty goes to an audition, where her performance is highly praised. Mulholland Drive is a street and road in the eastern Santa Monica Mountains of Southern California.It is named after pioneering Los Angeles civil engineer William Mulholland.The western rural portion in Los Angeles and Ventura Counties is named Mulholland Highway.The road is featured in a significant number of movies, songs, and novels. [5], Since its release, Mulholland Drive has received "both some of the harshest epithets and some of the most lavish praise in recent cinematic history". [35], 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". 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. "[8] Watts also had experience with the road before her career was established: "I remember driving along the street many times sobbing my heart out in my car, going, 'What am I doing here? The second and third times I saw it, I thought it dealt with identity. This is supported by visual clues, like particular camera angles making their faces appear to be merging into one. She and Betty have sex that night. [63] 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. What is felt, realized and gathered at the Club Silencio? [101], Mulholland Drive was not without its detractors. [52] 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". 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. 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". Everything was seen from a different angle ... Now, looking back, I see that [the film] always wanted to be this way. It was originally a script for a pilot for ABC. Lynch remembered, "All I know is, I loved making it, ABC hated it, and I don't like the cut I turned in. Canal+ wanted to give Lynch money to make it into a feature and it took a year to negotiate. She arranges for Camilla, an ex-lover, to be killed, and unable to cope with the guilt, re-imagines her as the dependent, pliable amnesiac Rita. "[11] In the opening scene of the film, as the dark-haired woman stumbles off Mulholland Drive, silently it suggests she is clumsy. 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. She endured some professional frustration before she became successful, auditioned for parts in which she did not believe, and encountered people who did not follow through with opportunities. Elsewhere, director Adam Kesher has his film commandeered by mobsters, who insist he cast an unknown actress named Camilla Rhodes as the lead. 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.' "[52] She points out that the film used a classic theme in literature and film depicting lesbian relationships: Camilla as achingly beautiful and available, rejecting Diane for Adam. Turn right, northward, up the hill. David welcomes questions, but he won't answer any of them ... You work kind of half-blindfolded. [70] Lynch also infused subtle rumblings throughout portions of the film that reviewers noted added unsettling and creepy effects. "[28] Philip French from The Observer sees it as an allusion to Hollywood tragedy, while Jane Douglas from the BBC rejects the theory of Betty's life as Diane's dream, but also warns against too much analysis. Mulholland Dr.) američki je neo-noir psiholoÅ¡ki triler iz 2001. godine kojeg je napisao i režirao David Lynch, a u kojem su glavne uloge ostvarili Justin Theroux, Naomi Watts i Laura Elena Harring.Ovaj nadrealni film bio je izrazito hvaljen od strane kritičara. Although the audience still struggles to make sense of the stories, the characters are no longer trying to solve their mysteries. Production Designer Jack Fisk. It’s made by Nubiles crew so you can expect very high quality, no dobuts. For one critic, Betty performed the role of the film's consciousness and unconscious. But I did have to reconcile all of that, and people seem to think it works. [42] 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. Adam and Camilla prepare to make an important announcement, but they dissolve into laughter and kiss while Diane watches, crying. [14], Giving the film only the tagline "A love story in the city of dreams",[8] David Lynch has refused to comment on Mulholland Drive's meaning or symbolism, leading to much discussion and multiple interpretations. Notice the robe, the ashtray, the coffee cup. She recalled, "There were a lot of promises, but nothing actually came off. Ended up on Mullholland Drive (while it was on my list to visit anyway) on our way to the Beverly Hills Hotel for dinner. "[89] Badalamenti described a particular technique of sound design applied to the film, by which he would provide Lynch with multiple ten- to twelve-minute tracks at slow tempo, that they called "firewood",[89] from which Lynch "would take fragments and experiment with them resulting in a lot of film's eerie soundscapes."[87]. 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". Mulholland Drive (2001) is a neo-noir mystery/crime film starring Naomi Watts, Laura Harring, and Justin Theroux. Sometimes it's really magical. Inspired with events of Mullholand Drive we are proud to present Thickumz, an original series where fit and sport-loving girls are flashing in public places. Both then turn and smile pointedly at Diane. "[37] Edward Guthmann of the San Francisco Chronicle called it "exhilarating ... for its dreamlike images and fierce, frequently reckless imagination" and added, "there's a mesmerizing quality to its languid pace, its sense of foreboding and its lost-in-time atmosphere ... it holds us, spellbound and amused, for all of its loony and luscious, exasperating 146 minutes [and] proves that Lynch is in solid form—and still an expert at pricking our nerves". Do we know who we are? "[113] It was also voted best of the decade in a Film Comment poll of international "critics, programmers, academics, filmmakers and others",[114] and by the magazine's readers. A shadowy figure named Mr. Roque, who seems to control film studios, is portrayed by dwarf actor Michael J. Anderson (also from Twin Peaks). These girls look really in love and it was curiously erotic. [54] 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. Contained within the original DVD release is a card titled "David Lynch's 10 Clues to Unlocking This Thriller". [41], 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. [121] The film was voted as the 11th best film set in Los Angeles in the last 25 years by a group of Los Angeles Times writers and editors with the primary criterion of communicating an inherent truth about the L.A. [131] In spite of Lynch's concerns, the DVD release included a cover insert that provided "David Lynch's 10 Clues to Unlocking This Thriller", although one DVD reviewer noted that the clues may be "big obnoxious red herrings". [36], Despite the proliferation of theories, critics note that no explanation satisfies all of the loose ends and questions that arise from the film. [104] Todd McCarthy of Variety found much to praise—"Lynch cranks up the levels of bizarre humor, dramatic incident and genuine mystery with a succession of memorable scenes, some of which rank with his best"—but also noted, "the film jumps off the solid ground of relative narrative coherence into Lynchian fantasyland ... for the final 45 minutes, Lynch is in mind-twisting mode that presents a form of alternate reality with no apparent meaning or logical connection to what came before. A woman at the theater whispers, "Silencio. Watch young guys having their lucky day with the world’s most popular MILF actresses! "[105] Film theorist Ray Carney notes, "You wouldn't need all the emotional back-flips and narrative trap doors if you had anything to say. Reviewers note that Badalamenti's ominous score, described as his "darkest yet",[87] contributes to the sense of mystery as the film opens on the dark-haired woman's limousine,[88] that contrasts with the bright, hopeful tones of Betty's first arrival in Los Angeles,[84] with the score "acting as an emotional guide for the viewer". [78], 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. Media portrayals of Naomi Watts' and Laura Elena Harring's views of their onscreen relationships were varied and conflicting. First part is all about a young happy girl who is achieving every thing in life and second part is about a reality that she have loose every thing. Watts said of the filming of the scene, "I don't see it as erotic, though maybe it plays that way. [31] 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. Her purse contained a lot of money and also a blue key that is really unusual. Storyline. Lucky Humpers are here to show that youth and enormous levels of stamina can be used in a proper way… in front of a camera on adult oriented set! [126][127] Having received 40 critics' votes, it is one of only two films from the 21st century to be included in the list, along with 2000's In the Mood for Love. You can experience Nonlinear narrative style during this movie. 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. 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".[52]. "[103] In The Washington Post, Desson Howe called it "an extended mood opera, if you want to put an arty label on incoherence". [35] Author Valtteri Kokko has identified three groups of "uncanny metaphors"; the doppelgänger of multiple characters played by the same actors, dreams and an everyday object—primarily the blue box—that initiates Rita's disappearance and Diane's real life. [124] In 2011, online magazine Slate named Mulholland Drive in its piece on "New Classics" as the most enduring film since 2000. Traveled Mulholland Drive on way to Beverly Hills Hotel. [135], On July 15, 2015, 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, 2015, both of which include new interviews with the film's crew and the 2005 edition of Chris Rodley's book Lynch on Lynch, along with the original trailer and other extras. … End was chilling. [84] Badalamenti, who was nominated for awards from the American Film Institute (AFI) and the British Academy of Film and Television Arts (BAFTA) for his work on the film,[85][86] also has a cameo as an espresso aficionado and mobster. [52] Immediately after telling Diane that she drives her wild, Camilla tells her they must end their affair. [32] 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". Later that morning, an aspiring actress named Betty Elms arrives at the apartment, which is normally occupied by her Aunt Ruth. 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. Directed by David Lynch. With a lot of struggle, she manages to get to Los Angeles City and break into an apartment. With Naomi Watts, Laura Harring, Justin Theroux, Jeanne Bates. Roger Ebert and Jonathan Ross seem to accept this interpretation, but both hesitate to overanalyze the film. When you start working on the sound, keep working until it feels correct. [30] Or the entire film is a dream, but whose dream is unknown. Proceed to Mulholland Drive (there is a traffic signal at this intersection), turn left (west). Lynch was awarded the Best Director prize at the festival, sharing it with co-winner Joel Coen for The Man Who Wasn't There. There, the emcee explains in different languages that everything is an illusion; Rebekah Del Rio comes on stage and begins singing the Roy Orbison song "Crying" in Spanish, then collapses, unconscious, while her vocals continue. Drive about 3/4 mile to the Nancy Hoover Pohl Overlook, on the right side of the road. You wouldn't need doppelgangers and shadow-figures if your characters had souls. "[11] The story included surreal elements, much like Lynch's earlier series Twin Peaks. [35] 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. [34] 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. Lynch had baffled me before but this story was so rich and so lean while capturing the tone of the Hollywood that I do wished to have lived in that I kept wanting to learn and to feel more and as the ending approached I felt certain that I was set to get what I desired . [17], Filming for the television pilot began on location in Los Angeles in February 1999 and took six weeks. A casting agent takes her to a soundstage where a film called The Sylvia North Story, directed by Adam, is being cast. I don't want to think about it. [90] When the song plays, Betty has just entered the sound stage where Adam is auditioning actresses for his film, and she sees Adam, locks eyes with him and abruptly flees after Adam has declared "This is the girl" about Camilla, thereby avoiding his inevitable rejection. Ironically, Lynch wrote "I will never do television again" on a piece of plywood. It tells the story of an aspiring actress named Betty Elms (Watts), newly arrived in Los Angeles, who meets and befriends an amnesiac woman (Harring) recovering from a car accident. 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. Betty and Rita go to Diane Selwyn's apartment, where a neighbor answers the door and tells them she has switched apartments with Diane. [65] In a scene immediately after Betty's audition, the film cuts to a woman singing without apparent accompaniment, but as the camera pulls backwards, the audience sees that it is a recording studio. Lynch has declined to offer an explanation of his intentions for the narrative, leaving audiences, critics, and cast members to speculate on what transpires. Diane's scenes feature choppier editing and dirtier lighting that symbolize her physical and spiritual impoverishment,[41] 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. [34] Similarly, Hageman has identified the early scene at Winkie's as "extremely uncanny", because it is a scene where the "boundaries separating physical reality from the imaginary realities of the unconscious disintegrate". My interpretation could end up being completely different, from both David and the audience. Witnessed by Diane, Adam is pompous and self-important. Betty locks eyes with Adam, but she flees before she can meet him, saying she is late to meet a friend. It tells the story of an aspiring actress named Betty Elms (Watts), newly arrived in Los Angeles, who meets and befriends an amnesiac woman (Harring) recovering from a car accident. It's achieved its goal if it makes you ask questions. Ultimately, the network was unhappy with the pilot and decided not to place it on its schedule. Will the passion and experience beat the high amount of male hormones? [92] The song tragically serenades the lovers Betty and Rita, who sit spellbound and weeping, moments before their relationship disappears and is replaced by Diane and Camilla's dysfunction. Laura is amazing. [31] Repeated references to beds, bedrooms and sleeping symbolize the heavy influence of dreams. t lộn xộn. Mulholland Drive on rakkaustragedia, trilleri, musta komedia, rikoselokuva ja ajoittain suorastaan lähes sydänkohtauksen aiheuttava kauhufilmi. [40] Many of the characters in Mulholland Drive are archetypes that can only be perceived as cliché: the new Hollywood hopeful, the femme fatale, the maverick director and shady powerbrokers that Lynch never seems to explore fully. [35] Scholar Curt Hersey recognizes several avant-garde techniques used in the film including lack of transitions, abrupt transitions, motion speed, nontraditional camera movement, computer-generated imagery, nondiegetic images, nonlinear narration and intertextuality. [57] Her perkiness and intrepid approach to helping Rita because it is the right thing to do is reminiscent of Nancy Drew for reviewers. Soundtrack from David Lynch's motion picture "Mulholland Drive" starring Justin Theroux, Naomi Watts, Laura Elena Harring, Ann Miller and Robert Foster. David Lynch lives near Mulholland Drive, and stated in an interview, "At night, you ride on the top of the world. The story follows several other vignettes and characters, including a Hollywood film director (Theroux). Although she doesn´t die in the accident, she ends up severely injured and in a profound shock. "[65], 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". Rita unlocks the box, and it falls to the floor. For Cole, "Diane’s strange recognition of Dan, which is not quite identification but something else, feels trans in its oblique line, drawn between impossible doubles" and their similar names (Dan/Diane) which is no mistake. Xem thêm : Một vài bộ phim hại não nên xem thá»­ "[31] Stephanie Zacharek of Salon magazine stated that the scene's "eroticism [was] so potent it blankets the whole movie, coloring every scene that came before and every one that follows". [14], Theroux described approaching filming without entirely understanding the plot: "You get the whole script, but he might as well withhold the scenes you're not in, because the whole turns out to be more mystifying than the parts. She looks exactly like Betty, but is a struggling actress driven into a deep depression by her failed affair with Camilla Rhodes, who is a successful actress and looks exactly like Rita. Nice if you are in the area. The figure from the man's dream is revealed to have the matching blue box. "[55] However, in another interview Watts stated, "I was amazed how honest and real all this looks on screen. [91] Unlike "Sixteen Reasons", however, portions of "I've Told Ev'ry Little Star" are distorted to suggest "a sonic split-identity" for Camilla. 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. The heterosexual closure of the scene is interrupted by a scene change. [51] Lynch pays direct homage to Persona in the scene where Rita dons the blonde wig, styled exactly like Betty's own hair. David works from his subconscious. 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. Read more. It broke my heart a little bit. Lynch was nominated for an Academy Award for Best Director for the film. After a long flight with little sleep, Theroux arrived dressed all in black, with untidy hair. Music composed and conducted by Angelo Badalamenti. 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. [77] Andrew Hageman similarly notes that the camera work in the film "renders a very disturbing sense of place and presence", such as the scene in Winkie's where the "camera floats irregularly during the shot-reverse shot dialogue" by which the "spectator becomes aware that a set of normally objective shots have become disturbingly subjective". One night, I sat down, the ideas came in, and it was a most beautiful experience. [120] In 2010 it was named the second best arthouse film ever by The Guardian.