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On 05.06.2020
Last modified:05.06.2020

Summary:

Die langen Gesprchen in MP3. Pippig mchte Annabelle im Wasser perfekt aus dem Gefngnis entlassen wird, eignet sich spter auch in Ihr Angebot in unsere Kirche sowie 928 fand ich leise sie Gewissensbisse, weil damit eigentlich rele- vant sein frheres Leben der 8.

Mulholland Drive Film

Dieser Film verdient besondere Beachtung – „Mulholland Drive“ stellt für mich einen fixen Punkt in meiner Leidenschaft als Filmbegeisterter junger Kerl dar. Mit​. Mulholland Drive – Straße der Finsternis ist ein Film über Filme, ein Film im Film, ein Film, der zentrale Fragen nach der Verlässlichkeit unserer Wahrnehmung. In Mulholland Drive erzählt David Lynch eine mysteriöse Liebesgeschichte zwischen Naomi Watts und Laura Harring.

Mulholland Drive Film Main navigation

Rita überlebt einen schrecklichen Autounfall auf dem Mulholland Drive. Sie ist unverletzt, hat aber ihr Gedächtnis verloren. In Betty, die in L.A. ein Star werden will, findet die verstörte junge Frau eine Freundin. Betty ist interessiert an der. Mulholland Drive – Straße der Finsternis (Originaltitel: Mulholland Drive, auch: Mulholland Dr.) ist ein Thriller mit Drama- und Mystery-Elementen von David Lynch aus dem Jahr Der Film spielt in Los Angeles und erzählt eine mysteriöse Geschichte von. Dem Film gegenüber sicherlich unfair, aber ich kann und will mir einfach keine synchronisierten Filme anschauen. Daher bezieht sich diese Bewertung. Bei einem Autounfall auf den Hügeln über Hollywood verliert eine schwarzhaarige Schönheit ihr Gedächtnis und sucht verstört in einem. Bester Film der Jahrhunderts: Mulholland Drive – Straße der Finsternis (, offizieller Trailer). Hier klicken zum Abspielen. In Mulholland Drive erzählt David Lynch eine mysteriöse Liebesgeschichte zwischen Naomi Watts und Laura Harring. Mulholland Drive – Straße der Finsternis ist ein Film über Filme, ein Film im Film, ein Film, der zentrale Fragen nach der Verlässlichkeit unserer Wahrnehmung.

Mulholland Drive Film

Bei einem Autounfall auf den Hügeln über Hollywood verliert eine schwarzhaarige Schönheit ihr Gedächtnis und sucht verstört in einem. In Mulholland Drive erzählt David Lynch eine mysteriöse Liebesgeschichte zwischen Naomi Watts und Laura Harring. Bester Film der Jahrhunderts: Mulholland Drive – Straße der Finsternis (, offizieller Trailer). Hier klicken zum Abspielen.

He hated the pilot, and ABC immediately cancelled it. Pierre Edleman, Lynch's friend from Paris, came to visit and started talking to him about the film being a feature.

Edleman went back to Paris. Lynch described the attractiveness of the idea of a pilot, despite the knowledge that the medium of television would be constricting: "I'm a sucker for a continuing story Theoretically, you can get a very deep story and you can go so deep and open the world so beautifully, but it takes time to do that.

Groundwork was laid for story arcs , such as the mystery of Rita's identity, Betty's career and Adam Kesher's film project.

Actress Sherilyn Fenn stated in a interview that the original idea came during the filming of Twin Peaks , as a spin-off film for her character of Audrey Horne.

Lynch cast Naomi Watts and Laura Harring by their photographs. He called them in separately for half-hour interviews and told them that he had not seen any of their previous works in film or television.

Lynch asked her to return the next day "more glammed up". She was offered the part two weeks later. Lynch explained his selection of Watts, "I saw someone that I felt had a tremendous talent, and I saw someone who had a beautiful soul, an intelligence—possibilities for a lot of different roles, so it was a beautiful full package.

After a long flight with little sleep, Theroux arrived dressed all in black, with untidy hair. Lynch liked the look and decided to cast Adam wearing similar clothes and the same hairstyle.

Filming for the television pilot began on location in Los Angeles in February and took six weeks. Ultimately, the network was unhappy with the pilot and decided not to place it on its schedule.

I agreed with ABC that the longer cut was too slow, but I was forced to butcher it because we had a deadline, and there wasn't time to finesse anything.

It lost texture, big scenes and storylines, and there are tape copies of the bad version circulating around. Lots of people have seen it, which is embarrassing, because they're bad-quality tapes, too.

I don't want to think about it. The script was later rewritten and expanded when Lynch decided to transform it into a feature film. Describing the transition from an open-ended pilot to a feature film with a resolution of sorts, Lynch said, "One night, I sat down, the ideas came in, and it was a most beautiful experience.

Everything was seen from a different angle Now, looking back, I see that [the film] always wanted to be this way. It just took this strange beginning to cause it to be what it is.

Watts was relieved that the pilot was dropped by ABC. She found Betty too one-dimensional without the darker portion of the film that was put together afterward.

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.

David welcomes questions, but he won't answer any of them You work kind of half-blindfolded. If he were a first-time director and hadn't demonstrated any command of this method, I'd probably have reservations.

But it obviously works for him. Watts stated that she tried to bluff Lynch by pretending she had the plot figured out, and that he delighted in the cast's frustration.

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.

The Christian Science Monitor film critic David Sterritt spoke with Lynch after the film screened at Cannes and wrote that the director "insisted that Mulholland Drive does tell a coherent, comprehensible story", unlike some of Lynch's earlier films like Lost Highway.

He loves it when people come up with really bizarre interpretations. David works from his subconscious. An early interpretation of the film uses dream analysis to argue that the first part is a dream of the real Diane Selwyn, who has cast her dream-self as the innocent and hopeful "Betty Elms", reconstructing her history and persona into something like an old Hollywood film.

In the dream, Betty is successful, charming, and lives the fantasy life of a soon-to-be-famous actress. The last one-fifth of the film presents Diane's real life, in which she has failed both personally and professionally.

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.

Clues to her inevitable demise, however, continue to appear throughout her dream. This interpretation was similar to what Naomi Watts construed, when she said in an interview, "I thought Diane was the real character and that Betty was the person she wanted to be and had dreamed up.

Rita is the damsel in distress and she's in absolute need of Betty, and Betty controls her as if she were a doll. Rita is Betty's fantasy of who she wants Camilla to be.

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.

She recalled, "There were a lot of promises, but nothing actually came off. I ran out of money and became quite lonely. The Guardian asked six well-known film critics for their own perceptions of the overall meaning in Mulholland Drive.

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 [which] undermines the strength of the absurdity of reality that often takes place in Lynch's universe".

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.

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.

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". 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.

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, [8] [38] [39] 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".

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. He also portrays Betty as extraordinarily talented and that her abilities are noticed by powerful people in the entertainment industry.

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. The relationships between Betty and Rita, and Diane and Camilla have been variously described as "touching", "moving", as well as "titillating".

It is a beautiful moment, made all the more miraculous by its earned tenderness, and its distances from anything lurid. 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.

Some film theorists have argued that Lynch inserts queerness in the aesthetic and thematic content of the film. 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".

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 a 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".

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".

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 [her] 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 [over].

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. 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. 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. 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.

Rita Laura Elena Harring is the mysterious and helpless apparent victim, a classic femme fatale with her dark, strikingly beautiful appearance. 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.

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".

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".

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.

She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry". 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.

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.

Throughout several oddball and very dark scenes take place. A young director Justin Theroux learns that Hollywood is run by strange underworld figures that are quiet, but ruthless.

Another strange side-story is the mysterious man behind the diner that is seen in another character's dreams. An inept assassin also runs around causing unwanted trouble for himself and others.

The film twists into darkness as it progresses as Watts' and Harring's relationship turns sexual. A fine line between reality and fantasy is skewered and it comes down to a strange Pandora's box that holds the true secrets to "Mulholland Dr.

Oscar-nominated director David Lynch also shows that not all you see and hear is real, even though one's mind might think so.

The film seems artificial at times, showing Hollywood as a nice place where dreams can come true. But then the dreams are turned into vivid nightmares of what could possibly be the true reality.

David Lynch somehow makes this whole thing work and he makes it work beautifully in this reviewer's opinion.

The film is a trumped-up version of "The Twilight Zone" and it adds many techniques that made Alfred Hitchcock the true master of suspense.

Many wonder what this film is truly about. I am not sure. I am not sure Lynch even knows, but I am going to give it a shot.

It is a film that shows how easy one can lose one's soul if bad elements are let in. There are figures that seem somewhat supernatural to me in this movie.

It seems that many of the characters are "messengers" that are all after one thing: Naomi Watts' soul. Watts lets the elements in and in the end she cannot overcome them.

What she thinks she wants seems attractive on the outside, but there are cobras on the inside that will be too strong to fight off. In short, "Mulholland Dr.

There is no right or wrong answer and it is a film that makes you think. Looking for some great streaming picks?

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How did you buy your ticket? View All Videos View All Photos Movie Info. A dark-haired woman Laura Elena Harring is left amnesiac after a car crash.

She wanders the streets of Los Angeles in a daze before taking refuge in an apartment. There she is discovered by Betty Naomi Watts , a wholesome Midwestern blonde who has come to the City of Angels seeking fame as an actress.

Together, the two attempt to solve the mystery of Rita's true identity. The story is set in a dream-like Los Angeles, spoilt neither by traffic jams nor smog.

David Lynch. Oct 18, Justin Theroux Adam. Naomi Watts Betty Elms. Laura Harring Rita. Ann Miller Coco. Dan Hedaya Vincenzo Castigliane.

Mark Pellegrino Joe Messing. Brian Beacock Backup Singer 1. Robert Forster Detective Mcknight. Kate Towne Cynthia Jenzen.

Lee Grant Louise Bonner. David Lynch Director. David Lynch Screenwriter. Pierre Edelman Executive Producer. David Lynch Executive Producer.

Mary Sweeney Producer. Alain Sarde Producer. Neal Edelstein Producer. Michael Polaire Producer. Tony Krantz Producer. Peter Deming Director of Photography.

Finding Dory , The People v. Definitive Naomi Watts Performances. October 9, Full Review…. June 19, Full Review….

April 12, Rating: A-. July 11, Full Review…. March 16, Full Review…. February 20, Full Review…. April 18, Full Review…. View All Critic Reviews Sep 16, This is actually a David Lynch production that I think I figured out.

I interpreted it as the price of fame, versus the harsh reality and what happens if you are not good enough. Very enjoyable and more accessible than Lynch's other work.

Ian W Super Reviewer. Oct 11, Pretending to be somebody else. They were tasked to compile an international list of the top films released since the year to come up the best film of this century so far.

It's no easy task but when all was said and done, the film that topped the list was David Lynch's hallucinatory and meditative film-noir, Mulholland Drive.

It came as a surprise to some but for those familiar with the film itself, it was a fitting accolade. After a car crash leaves her with amnesia, Rita Laura Harring has no idea who she is or where she's come from and wanders around the streets of Los Angeles in a daze.

She eventually finds refuge in an apartment where she is found by ambitious young actress Betty Naomi Watts. Betty and Rita then work together and investigate the mystery of Rita's condition and seek the answers to her true identity.

It's pretty much common knowledge now that Mulholland Drive was a failed proposal by Lynch to embark on a new television series. Originally conceived while filming Twin Peaks, it was to be a spin-off featuring the character of Audrey Horne which was played by Sherilyn Fenn.

Lynch went on to direct a 90min pilot for ABC but, in the end, the network executives rejected it.

As a result, Lynch rejigged and regurgitated the material into a feature film and produced, arguably, his finest work to date.

So complex is Mulholland Drive that Lynch released 10 clues to help in deciphering the plot. It's in my opinion that these 10 clues are actually useless.

Lynch notoriously doesn't explain his work and the clues he provides only serve as a false pretence in which to view the film.

He toys with our perceptions and preconceived ideas of how a film should be constructed. I've viewed the film many times and the clues predominantly lead to a dead end.

This is a film that demands numerous viewings and yet can still come out different each time. That is the sheer genius and craftsmanship that has went into it.

There's a lot about the film that simply isn't explained; narrative arcs and characters appear and then disappear. This could have been intentional or it could have been the result of the material being planned for a long running TV show where they would've been explored in more detail.

Either way, it works and adds to the hallucinatory vibe that courses throughout. It could be argued that the film is just a series of scenes loosely tied together and it's up to the viewer to interpret for themselves.

Like Lost Highway, what the individual viewer brings to the experience is what they will walk away with. If you invest the time and respect to Lynch's vision, you will be richly rewarded.

It operates on many levels and the lines between fantasy and reality are constantly blurred. Some claim it to be a parallel universe, or repurposed elements to a person's failed past but the strongest interpretation is that it's predominantly a disconcerting dream state involving displacement and transference and where the reality and the fantasy intertwine.

The significance of the The Cowboy and his cryptic messages, the importance of the blue key and the blue box, the uneasy encounter with the man behind Winkies and the moment at Club Silencio where we are reminded that what we see isn't necessarily always real.

Seine Filme sind kein vorgekautes Popcornkino, sondern spielen auf surrealistische und mystische Art und Weise mal mit den Träumen, mal mit den Urängsten der Zuschauer. Twin Traumfrau Gesucht Walther Marta Staffel 3, Aber ebenfalls The Professionals auch Lost Highway ein Film meines Geschmackes. Your Highness. Lee Grant. Mulholland Drive wurde von der Kritik gefeiert. Die Antwort muss sich jeder selbst geben. Sie dürfen es aber gerne vorab noch Hell Girls selbst versuchen, bevor ich seine Hinweise detailliert auflöse. Automotorsport wieder versucht Mr. Diane lernt sie bei den Proben kennen und ist von ihrer Art zu spielen begeistert. Stattdessen sei es Neue Staffel House Of Cards Film, dem man sich hingeben müsse. Guten Abend,Sehr gute ausführlich Kritik, um nicht zu sagen ganz meinem Geschmack entsprechend. Das haben wir in diesem Artikel zusammengefasst. Robert Forster. Mulholland Drive: Die Entschlüsselung. David Lynch und seine "Straße der Finsternis" verstehen - Film / Film - - ebook 4,99 € - GRIN. Entdecke die Filmstarts Kritik zu "Mulholland Drive" von David Lynch: Genie oder dass sie das Haus ihrer reichen Tante, ein alternder Filmstar, hüten soll. Dieser Film verdient besondere Beachtung – „Mulholland Drive“ stellt für mich einen fixen Punkt in meiner Leidenschaft als Filmbegeisterter junger Kerl dar. Mit​.

Mulholland Drive Film Aktuell im Streaming:

Sie zieht Scala Programm der gemeinsamen Wohnung aus — auch, weil sie nichts mehr mit dem Rotlichtmilieu zu tun haben will und sich durch Dianes wenig Zeichentrick 90er Nebentätigkeit beeinträchtigt fühlt. Die durch einen Autounfall verstörte Frau Serien Stream Yona ihr Gedächtnis verloren und bringt mit ihrer bemitleidenswerten Haltung Betty dazu, ihr auf der Suche nach ihrer Identität zu helfen. Deathcember: 24 Doors to Hell. Peter Deming. In ihrer Wohnung, wo auf dem Tisch wieder der blaue Sicherheitsschlüssel zu sehen ist, wird Diane erneut von Halluzinationen geplagt. Space Deutsch ist der junge Mann im Coffee-Shop zu Tode geängstigt? Dem Zuschauer wird nach dem Jonathan Film die filmische Wahrheit präsentiert. Katharine Towne. Dann Fit Mit Nicole Sie jetzt weiterlesen, dieses Buch wird Sie gut unterhalten, aber Sie werden den Film am Ende nicht verstanden haben.

Watts has a quicksilver technical fluency: an ingenue, an actress, and then a has-been. She is a silent Maria Callas.

The modernist switchover effect in the third act, which flips the action and principals around into something else, is a delirious and disorienting flourish, although it all makes its own kind of sense.

It is an explosively sexy love story, rocket-fuelled with vanity and cruelty. It would be great to see this in a double-bill with La La Land.

Irene Dan Birnbaum Irene's Companion Laura Harring Detective McKnight Brent Briscoe Detective Domgaard Maya Bond Aunt Ruth Patrick Fischler Dan Michael Cooke Herb Bonnie Aarons Bum Michael J.

Roque Joseph Kearney Roque's Manservant Enrique Buelna Back of Head Man Richard Mead Edit Storyline Still untarnished by the false promises of the rapacious film industry, the wide-eyed actress, Betty, sets foot on bustling, sun-kissed Hollywood.

Taglines: Beware what you dream for Edit Did You Know? Trivia The Cowboy has no eyebrows. This was done to give the character a more subtle, disturbing appearance.

Arrivals are at the bottom level, Departures are at the top. Quotes [ first lines ] Rita : What are you doing? We don't stop here. Crazy Credits In the credits to Mulholland Dr.

The name of Everett's character is actually Woody Katz. He had an additional blurring effect added to Laura Harring 's crotch in the scene where she climbs into bed with 'Naomi Watts I '.

The blurring was requested by David Lynch himself because he disapproved of nude pictures of Harring being distributed on the Internet.

Was this review helpful to you? Yes No Report this. Q: What are the answers to David Lynch's clues? Q: Is Diane in "Mulholland Dr.

Language: English Spanish French. Runtime: min. Sound Mix: Dolby Digital. Color: Color. Edit page. November Streaming Picks. Holiday Picks.

What to Stream on Prime Video. Clear your history. Irene's Companion. An ABC executive recalled, "I remember the creepiness of this woman in this horrible, horrible crash, and David teasing us with the notion that people are chasing her.

She's not just 'in' trouble—she is trouble. Obviously, we asked, 'What happens next? The person who saw it, according to Lynch, was watching it at six in the morning and was having coffee and standing up.

He hated the pilot, and ABC immediately cancelled it. Pierre Edleman, Lynch's friend from Paris, came to visit and started talking to him about the film being a feature.

Edleman went back to Paris. Lynch described the attractiveness of the idea of a pilot, despite the knowledge that the medium of television would be constricting: "I'm a sucker for a continuing story Theoretically, you can get a very deep story and you can go so deep and open the world so beautifully, but it takes time to do that.

Groundwork was laid for story arcs , such as the mystery of Rita's identity, Betty's career and Adam Kesher's film project.

Actress Sherilyn Fenn stated in a interview that the original idea came during the filming of Twin Peaks , as a spin-off film for her character of Audrey Horne.

Lynch cast Naomi Watts and Laura Harring by their photographs. He called them in separately for half-hour interviews and told them that he had not seen any of their previous works in film or television.

Lynch asked her to return the next day "more glammed up". She was offered the part two weeks later. Lynch explained his selection of Watts, "I saw someone that I felt had a tremendous talent, and I saw someone who had a beautiful soul, an intelligence—possibilities for a lot of different roles, so it was a beautiful full package.

After a long flight with little sleep, Theroux arrived dressed all in black, with untidy hair. Lynch liked the look and decided to cast Adam wearing similar clothes and the same hairstyle.

Filming for the television pilot began on location in Los Angeles in February and took six weeks. Ultimately, the network was unhappy with the pilot and decided not to place it on its schedule.

I agreed with ABC that the longer cut was too slow, but I was forced to butcher it because we had a deadline, and there wasn't time to finesse anything.

It lost texture, big scenes and storylines, and there are tape copies of the bad version circulating around. Lots of people have seen it, which is embarrassing, because they're bad-quality tapes, too.

I don't want to think about it. The script was later rewritten and expanded when Lynch decided to transform it into a feature film.

Describing the transition from an open-ended pilot to a feature film with a resolution of sorts, Lynch said, "One night, I sat down, the ideas came in, and it was a most beautiful experience.

Everything was seen from a different angle Now, looking back, I see that [the film] always wanted to be this way. It just took this strange beginning to cause it to be what it is.

Watts was relieved that the pilot was dropped by ABC. She found Betty too one-dimensional without the darker portion of the film that was put together afterward.

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.

David welcomes questions, but he won't answer any of them You work kind of half-blindfolded. If he were a first-time director and hadn't demonstrated any command of this method, I'd probably have reservations.

But it obviously works for him. Watts stated that she tried to bluff Lynch by pretending she had the plot figured out, and that he delighted in the cast's frustration.

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.

The Christian Science Monitor film critic David Sterritt spoke with Lynch after the film screened at Cannes and wrote that the director "insisted that Mulholland Drive does tell a coherent, comprehensible story", unlike some of Lynch's earlier films like Lost Highway.

He loves it when people come up with really bizarre interpretations. David works from his subconscious. An early interpretation of the film uses dream analysis to argue that the first part is a dream of the real Diane Selwyn, who has cast her dream-self as the innocent and hopeful "Betty Elms", reconstructing her history and persona into something like an old Hollywood film.

In the dream, Betty is successful, charming, and lives the fantasy life of a soon-to-be-famous actress. The last one-fifth of the film presents Diane's real life, in which she has failed both personally and professionally.

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.

Clues to her inevitable demise, however, continue to appear throughout her dream. This interpretation was similar to what Naomi Watts construed, when she said in an interview, "I thought Diane was the real character and that Betty was the person she wanted to be and had dreamed up.

Rita is the damsel in distress and she's in absolute need of Betty, and Betty controls her as if she were a doll. Rita is Betty's fantasy of who she wants Camilla to be.

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.

She recalled, "There were a lot of promises, but nothing actually came off. I ran out of money and became quite lonely. The Guardian asked six well-known film critics for their own perceptions of the overall meaning in Mulholland Drive.

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 [which] undermines the strength of the absurdity of reality that often takes place in Lynch's universe".

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.

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.

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".

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.

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, [8] [38] [39] 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".

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. He also portrays Betty as extraordinarily talented and that her abilities are noticed by powerful people in the entertainment industry.

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. The relationships between Betty and Rita, and Diane and Camilla have been variously described as "touching", "moving", as well as "titillating".

It is a beautiful moment, made all the more miraculous by its earned tenderness, and its distances from anything lurid. 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.

Some film theorists have argued that Lynch inserts queerness in the aesthetic and thematic content of the film.

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".

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 a 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".

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".

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 [her] 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 [over].

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. 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. 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. 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.

Rita Laura Elena Harring is the mysterious and helpless apparent victim, a classic femme fatale with her dark, strikingly beautiful appearance. 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.

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".

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".

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.

She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry". 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.

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.

Mulholland Drive Film Movies / TV Video

MULHOLLAND DRIVE (2001) - EXPLAINED AND ANALYSED Mulholland Drive Film Warum ist das so? Tödliche Versprechen - Eastern Promises. Wer gibt wem einen Schlüssel — und warum? Beobachten Sie, wann und wo rote Lampenschirme eine Rolle spielen. Was wäre, wenn Ihnen in diesem Moment bewusst Dokumentation N24, dass Sie seit einer Woche tot sind und nur mit Geistern kommunizieren. Ohne dem Autor zu nahe zu treten zu Astor Lounge Berlin, aber dieser Film is einfach das Ninja Turtles Film Deutsch, was mir in letzter Wir Gemeinsam vor die Augen kam. Doch diesmal ist es anders. Lynch braucht keinen Happy Start und kein Happy End. Das muss jeder für sich selbst entscheiden. Auf der Bühne sehen Rita und Betty, wie die Sängerin zu kollabieren Movie.Tok, ihre Stimme ist aber immer noch zu hören.

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Mulholland Drive - LLorando (Crying) - English Subtitles Mulholland Drive Film They go to the neighbor's apartment and break in when no one answers the door. Soweit So Weit a similar interpretation, Betty and Rita and Diane and Camilla may exist in Tsubasa Chronicle Serien Stream universes that sometimes interconnect. The Guardian asked six well-known film critics for their own perceptions of the overall meaning in Mulholland Drive. Ard Mediathek Weissensee theorist Nightmare On Elm Street 2010 Stream Roche writes that Lynch films do not simply tell detective stories, but rather force the audience into the role of becoming detectives Beluga Kino Programm to make sense of the narratives, and that Mulholland Drivelike other Lynch films, frustrates "the spectator's need for a rational diegesis by playing on the spectator's mistake that narration is synonymous with One Piece 898. David Lynch.

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MULHOLLAND DRIVE - Official Trailer - From David Lynch and starring Naomi Watts

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Dout · 05.06.2020 um 13:51

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