![]() Yet, she's loyal to Camilla (as she rushes back home to help her). Not only will she win the part (as she's praised by everyone) but she is recommended to bigger producers. Betty's more naive, vivacious, kind and successful. Here, Diane's a different person in contrast to her real self. She sees this waitress again in the dream but this time her name is Diane-a reminder of her real self). The dream-sequence: Diane sees herself as Betty (the name was actually of a waitress she met at Winkies. But, even in this state she's reminded of her real self and it becomes purgatory. She hires a hit-man to kill Camilla but is tormented by guilt thereafter and loses herself in a dream where she sees a better version of things. Diane is shattered when the director announces his engagement with Camilla. There's also another woman and a man (a director). But, Diane isn't the only person in Camilla's life. They hit it off and through Camilla's help, Diane gets bit roles in her films. At an audition she meets Camilla (Harring). She fails to succeed and struggles with her career. with the hope of getting recognized as 'a good actress and a star'. This is what really happens: Diane Selwyn, an aspiring actress, moves to L.A. The flashy words 'Mulholland Drive' appear on a signboard. The camera zooms in on the pillow until it's black (marking the beginning of Diane's dream. This sequence is followed by a red bedcover and a red pillow. Later we are told that she won at a jitterbug competition before moving to L.A. The film starts off with a 60's dancing competition where a happy Diane and an elderly couple (her parents) are present. The dialogues set the tone (humorous or intense or horrifying) and add to the characters. Lynch leaves subtle hints for the viewer to put together. It starts off with a dream sequence (that comprises the entire first half). The story's not told in the conventional fashion. Justin Theroux and Ann Miller are superb in their strong parts. Laura Elena Harring is sensational as the sensual Camilla. Naomi Watts completely nails her part with a nuanced performance of a tormented character. The varied camera-work, the haunting score, the effective lighting and use of colour, the amazing art direction and special effects are all part of the stylish execution. It resembles a beautiful dream/nightmare. Though the story's straightforward, it unfolds its layers with each viewing. 'Mulholland Drive' resembles a detailed painting, one that is better understood with repeated viewing as more details are discovered. Because I believe film making is so much more exciting in areas which aren't primarily to do with narrative." "I would argue that if you want to write narratives, be an author, be a novelist, don't be a film maker. ![]() And I'm hoping that I can clear it from my mind the next time I watch "Mulholland Dr." I will leave one thing from my original post. I enjoyed it before I had that satisfying interpretation. ![]() Whether or not you are satisfied with a particular interpretation of the plot should be irrelevant to your enjoyment of the film. Talking-it's real dangerous.' Not for nothing does "Mulholland Drive," the Lynch movie that has invited the most fervent flurry of explication, end with a word of caution: 'Silencio.'" This reminded me that 11 years before this edit I had written this very review on IMDb, which contained an interpretation of the film's plot. 'As soon as you put things in words, no one ever sees the film the same way,' he once told me. ![]() He writes: "Writing about David Lynch, it can be hard not to hear his voice in your head, protesting the violence being done to his work. 10/10 Recently, I read an excerpt from a book by Dennis Lim called "David Lynch: The Man from Another Place." In it, the author mentions how much Lynch despises interpretation of his work.
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