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I also don’t seem to get why people say that Mulholland Dr. is hard to understand. Or not exactly to understand but to construct an interpretation (as some people might argue that there isn’t a true unique explanation of the movie).
It’s all very inexplicable, but Lynch, and Mulholland Drive in particular, is somehow able to capture those feelings beautifully. When the DVD was released it also came with a list of “clues” to decipher the mystery of the story.
Mulholland Drive feels like what it is - a failed television pilot retro-fitted into a remake of Lost Highway's basic storyline, but with a bunch of shaggy loose ends still dangling about.
It’s difficult not to perceive Lynch’s manipulation of the narrative, confident that his audience will remain engaged irrespective of the film’s outcome.
- Lynch as Hollywood Critic and Devotee
- Mirrors and Identity Creation
- Closing Thoughts
- Works Cited
In demonstrating exactly how Lynch visualises memory, it is crucial to outline what he is visualising and why he chooses it as his subject. The physical representation of memory is by definition an impossible task. How do we display, as David MacDougal poses: “the mind’s landscape, whose images and sequential logic are always hidden from view” (Tra...
Lynch’s use of mirrors in Mulholland Drive, as both narrative device and symbolic object, demonstrates both the duality of the protagonists and how he draws parallels between old and new Hollywood. In the scene where the amnesiac brunette assumes the name ‘Rita’ there are two core components that highlight how Lynch creates a link between Hollywood...
Mulholland Driveis not just a visualisation of Diane Selwyn’s memory of her career; it is an acknowledgment and visualisation of the divergence between classical Hollywood cinema and early 21st century independent cinema, a movement in which Lynch defiantly flouts convention. In interpreting this film one must be aware of how viewer expectations of...
Booth, W. C. (1961) The Rhetoric of Fiction, Second Edition, (Chicago: University of Chicago Press) Bordwell, D. (1985) Narration in the Fiction Film, (London: Methuen & Co. Ltd.) ——– The Art Film as a Mode of Film Practice’ (1979) in Film Criticism, 4:1 pp.716-724 (Pennsylvania: Allegheny College) Chapman, J. (1941) ‘Red Heads’, in Chicago Daily T...
Sep 9, 2021 · In the hands of a lesser talent, this lack of linear storytelling would be seen as asking for trouble — and a sure sign of directorial incompetence — but Mulholland Drive was soon recognised as...
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Jul 26, 2020 · In the years since Mulholland Drive was released to critical acclaim, film buffs have been dissecting it and trying to work out exactly what it means. Lynch has given out clues, but no one has quite figured it out yet. But there are a lot of interpretations.
