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Jun 19, 2014 · The final twenty minutes of Mulholland Drive reveal that the first two hours contained a fantasy narrative created in Diane’s dream. The second segment, then, destroys the illusion that viewers may have had that the world depicted for the first two hours was a “real” representation of a preferable version of contemporary American life, one that by and large tries to hold onto nostalgic ...
- Clint Stivers
Jul 15, 2010 · Mulholland Drive is structured much like a dream, except that there is no clear identification of a dreamer. It is like a dream experienced rather than a dream remembered. There is no waking up, no available remembered day residue. A film and a dream have something important in common. They each must maintain our involvement.
Cowboy even says it at the end of the dream sequence "time to wake up, pretty girl" then the reality sets in. At that beginning of the movie before the title you get a first person perspective view of Diane's head hitting the pillow, then it blacks out to imply eyes closing and falling asleep, then the dream sequence begins and the title appears.
Feb 1, 2022 · As it happens, the very fact that "Mulholland Drive" plays out like a dream could be a major key to its meaning, and in 2002, Lynch shared 10 clues to help attentive audiences unlock the film's ...
- Mulholland Drive Explained - What Is The Dream Theory?
- Which Clues Reveal It’S A Dream?
- What Do Betty and Rita represent?
- What Happens in The Car Crash?
- Who Is The Hitman?
- Who Is The ‘Monster’ Behind The Winkie’S?
- Who Are The Old Couple - and What Do They Mean in The Film?
- What Happens at The End of Mulholland Drive?
According to one of the most common - and surprisingly coherent - interpretations of Lynch’s film, the first part of Mulholland Drive is best understood as a dream sequence, in which elements of the ‘real’ story are explored in heightened or distorted ways, until the protagonist Diane wakes up. It’s a clever play, too, on Hollywood as a dream facto...
Just before the film’s opening credits, we see a bed with red sheets, arguably our first hint that what is about to unfold is happening in the dream world; the same bed and sheets are later seen when Betty and Rita visit the apartment with the dead body, and then again when Betty / Diane wakes from the dream. The character Louise, the next-door nei...
One way of looking at Mulholland Drive’s first section is as a comment on Hollywood movie-making, and how the industry can flatten stories and characters into easily digestible tropes and characters as a way of making sense of the world. It follows then, that both Betty and Rita, the dream versions of the more fraught and complicated Diane and Cami...
We first meet Rita when she is sitting in the back of a limo, and is surprised when the driver pulls over at an unexpected stop along Mulholland Drive, up in the Hollywood Hills. A man in the front of the car pulls out a gun, and it seems that he is about to shoot her - perhaps foreshadowing Camilla’s actual death offscreen at the hands of the hitm...
In the film’s first section, Joe (Mark Pellegrino) is a clumsy hitman who messes up an attempt to steal a little black book, killing not only the target but a woman in the next room, and the janitor who witnesses the murder, before triggering the fire alarm. It’s a darkly comic sequence where the slapstick humour sits unsettlingly alongside the spa...
Towards the beginning of the film, a man named Dan, who is sitting in a Winkie’s diner, explains that he had a nightmare where he saw a terrifying figure behind the same restaurant. When he checks around the back, the strange man appears, causing him (and probably viewers of a nervous disposition) to collapse in fright. The same man appears again t...
We first meet Betty when she emerges from LAX airport, accompanied by an old lady, who we soon learn is named Irene, and an elderly man. The pair reiterate how nice it was to travel with Betty, and wish her well in her attempts to crack Hollywood, promising to watch out for her “on the big screen”. It seems like a sweet farewell, but this is a Lync...
Cornered by the vision of the old couple, Diane reaches into a drawer to pull out a gun, then shoots herself. After Diane dies and everything fades to black, we see her and Camilla’s - or should that be Betty and Rita’s? - smiling faces superimposed over the bright lights of Los Angeles. It’s reminiscent of an old-fashioned movie poster, as if Dian...
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Jun 15, 2014 · Mulholland Drive: A Dream Analysis. After an unusual The Straight Story, the master of mind-blowing surrealism, David Lynch, came out with the highly acclaimed Mulholland Drive, a neo-noir mystery thriller which draws on dream interpretation. Frankly, the movie could be interpreted as an improved version of Twin Peaks: Fire walk with me.
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As Lynch fans have surmised, the greater part of Mulholland Drive seems to be an extended ‘dream/fantasy sequence’ that occupies around two-thirds of the film. In the final third we see a version of the ‘real events’ that led Diane Selwyn (Naomi Watts) to arrange the murder of her former lover Camilla Rhodes (Laura Elena Harring), an event culminating in Diane's psychotic breakdown and ...
