Most agree though that the split narrative represents two sides of a dream. Something about the movie seems to entice everyone, and anyone, to take on the role of amateur detective. Harring, in 2017, told The Independent that she's personally received "letters from psychologists, from psychiatrists, from doctors who write a thesis on the meaning of Mulholland Drive". Mulholland Drive – like Lynch's Twin Peaks, Lost or Christopher Nolan's Memento – sits at the crest of a wave of puzzle-box narratives, whose popularity has steadily been fuelled by the rise of internet forums and YouTube analysis. Whatever the case, its true meaning has continued to elude even the most dedicated of cinephiles. Some consider the movie to be the ultimate culmination of all of Lynch's obsessions – blended identities, an attraction to and revulsion towards the filmmaking machine, the distortion of reality through dreams, the potential of alternate dimensions, and the deep paranoia that runs through the mundane. Of course, anyone who's seen Mulholland Drive will understand how rudimentary a synopsis that is. She takes a gun from her bedside table and turns it on herself. In the following scenes, not all of them in order, we learn the truth about Betty: she's the fevered creation of a heartbroken Diane Selwyn (Watts), who was rejected by a woman named Camilla Rhodes (Harring), who in turn announced her engagement to a director named Adam Kesher.ĭiane orders a hit on Camilla but is driven mad by the guilt. It's here that the narrative finally unspools. Meanwhile, a film director, Adam Kesher (Justin Theroux), watches his life spiral out of control after a shadowy figure, Mr Roque (Michael J Anderson), demands he cast an unknown actress named Camilla Rhodes (Melissa George) as the lead in his new movie.Īt the start of Mulholland Drive's final act, Betty and Rita find themselves inexplicably drawn to a nightclub by the name of Club Silencio, where haunted performers mime along to pre-recorded tracks. Betty, her heart as golden as her locks, dedicates herself to helping this mysterious woman, who borrows the name Rita from Rita Hayworth, after spotting a poster for the 1946 classic Gilda. In shock, she wanders into an apartment, where a woman named Betty Elms (Naomi Watts) lives – a fresh-faced newcomer from Deep River, Ontario, looking for a piece of the Hollywood pie. Betty tells Rita that she wants to help her solve the mystery because "It'll be just like in the movies.Like all great mysteries, Lynch's movie looks almost tame at a glance, only revealing the true sharpness of its teeth when it's arguably too late to back out.Īt the start, we meet a dark-haired woman (Laura Elena Harring), every bit the femme fatale, who's the sole survivor of a terrible limo crash on the titular, winding Los Angeles road. Eventually, Betty turns into Diane, who used to be dead, and Betty's aunt's landlady, or is it Adam's mother, is played by 1940's musical star Ann Miller, and all of this does not seem as out of place as it otherwise might. Themes of dreams and reality, identity and anonymity, innocence and corruption, creativity and conformity, ripple and resonate in the scenes that follow. Meanwhile, young director Adam (Justin Theroux) is pressured by some very dangerous-looking guys to give a particular actress the lead in his new movie. Betty (Naomi Watts), a fresh-faced ingenue hoping to make it as an actress in LA, tries to help Rita find out who she is. She has amnesia, and when asked her name, she says "Rita," as in Rita Hayworth. The brunette limps away and hides out in an apartment. A luscious brunette (Laura Harring) is about to be shot by a limo driver when a car filled with carousing teenagers slams into the limo. David Lynch's MULHOLLAND DRIVE is not a story but a mosaic of stories, eras, moods, characters, and themes that intersect, overlap, and parallel like a dream.
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