Directed by David Lynch. The figure from the man's dream is revealed to have the matching blue box. It eventually expanded to its widest release of 247 theaters, ultimately grossing $7,220,243 at the U.S. box office. For more details see this thread on the forum. I don't want to think about it. 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 2001) in a city of lethal illusions". The second and third times I saw it, I thought it dealt with identity. "[20], The script was later rewritten and expanded when Lynch decided to transform it into a feature film. It just took this strange beginning to cause it to be what it is. 4 families get together in order to have some fun and create a 5th one in the process. 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. . Roger Ebert was so impressed with Harring that he said of her "all she has to do is stand there and she is the first good argument in 55 years for a Gilda remake". 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. Ultimately, the network was unhappy with the pilot and decided not to place it on its schedule. She assumes to be Rita because of a Rita Hayworth poster on the wall. The soundtrack of Mulholland Drive was supervised by Angelo Badalamenti, who collaborated on previous Lynch projects Blue Velvet and Twin Peaks. [54] Diane's prolonged eye-contact with Dan at Winkie's is another example of the trans gaze. "[96] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 85 out of 100 based on 35 critics, indicating "universal acclaim". Lynch is playing a big practical joke on us. [95] On review aggregator website Rotten Tomatoes, the film has an approval rating of 83% based on 180 reviews, with an average rating of 7.62/10. [71] One analysis of Adam's character contends that because he capitulated and chose Camilla Rhodes for his film, that is the end of Betty's cheerfulness and ability to help Rita, placing the blame for her tragedy on the representatives of studio power. 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. [91] Originally written by Jerome Kern as a duet, sung by Linda Scott in this rendition by herself, Gans suggests it takes on a homosexual overtone in Mulholland Drive. "[16] Justin Theroux also met Lynch directly after his airplane flight. Mulholland Drive Company. Pay particular attention in the beginning of the film: At least two clues are revealed before the credits. 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. "[28] Philip French from The Observer sees it as an allusion to Hollywood tragedy, while Jane Douglas from the BBC rejects the theory of Betty's life as Diane's dream, but also warns against too much analysis. … The album progresses much like a typical Lynch film, opening with a quick, pleasant Jitterbug and then slowly delving into darker string passages, the twangy guitar sounds of '50s diner music and, finally, the layered, disturbing, often confusing underbelly of the score. After a long flight with little sleep, Theroux arrived dressed all in black, with untidy hair. The Mulholland Drive Company does not publicly disclose the contents of its portfolio or business interests. 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.m., that eventually leads to the total domination by Camilla. Mulholland Drive on vuonna 2001 ensi-iltansa saanut David Lynchin käsikirjoittama ja ohjaama elokuva, jonka pääosissa näyttelevät Naomi Watts, Laura Harring ja Justin Theroux. Please enable it to continue. [128] The following year, Mulholland Drive was named as the greatest film of the 21st century in a poll conducted by BBC Culture.[129]. 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. "[105] Film theorist Ray Carney notes, "You wouldn't need all the emotional back-flips and narrative trap doors if you had anything to say. If he were a first-time director and hadn't demonstrated any command of this method, I'd probably have reservations. [31] A character analysis of Rita asserts that her actions are the most genuine of the first portion of the film, since she has no memory and nothing to use as a frame of reference for how to behave. Rita unlocks the box, and it falls to the floor. There's no right or wrong to what someone takes away from it or what they think the film is really about. [121] The film was voted as the 11th best film set in Los Angeles in the last 25 years by a group of Los Angeles Times writers and editors with the primary criterion of communicating an inherent truth about the L.A. In Lynch's films, the spectator is always "one step behind narration" and thus "narration prevails over diegesis". 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. 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. [132] Special features in later versions and overseas versions of the DVD include a Lynch interview at the Cannes Film Festival and highlights of the debut of the film at Cannes. It's a movie that makes you continuously ponder, makes you ask questions. [57] Ann Miller portrays Coco, the landlady who welcomes Betty to her wonderful new apartment. British Academy of Film and Television Arts, "Mulholland Drive (2001) – Box Office Mojo", "David Lynch In Conversation- 34:22–36:07", "Lynch's 'Mulholland Drive' takes us to a hair-raising alternate world", "Nice Film If You Can Get It: Understanding, "Moving Beyond the Dream Theory: A New Approach to 'Mulholland Drive, "The Death of the Subject in David Lynch's, "Film Festival Review: Hollywood, a Funhouse of Fantasy", "Laura Elena Harring Explores the World of David Lynch", "The Naughts: The Romantic Pair of the '00s – IFC", "Naomi Watts interview – Naomi Watts on Mulholland Drive", "Everything you were afraid to ask about 'Mulholland Drive, "Psychological Horror in the Films of David Lynch", "Rebekah Del Rio – The story behind Llorando", "Festival de Cannes – From 15 to 26 may 2012", Mulholland Dr. Movie Review & Film Summary (2001), "Lynch's Hollyweird: 'Mulholland Drive' fantasia shows director's bizarre humor, originality", "Critic's Notebook; Shoving Through the Crowd to Taste Lyrical Nostalgia", "LA critics name Mulholland Drive Film of the Decade", "Best of the Decade #1: Mulholland Drive", "Film Comment's End-of-Decade Critics' Poll", "Best films of the noughties No 3: Mulholland Drive", "Mulholland Drive – Rolling Stone Movies – Lists", "The 25 best arthouse films of all time: the full list", "The 25 best L.A. films of the last 25 years", "The New Classics: The most enduring books, shows, movies, and ideas since 2000", "Mulholland Drive tops BBC Culture greatest film poll", "StudioCanal Collection – Mulholland Drive", "Mulholland Drive StudioCanal Collection UK Blu-ray Review", "StudioCanal Collection – The Elephant Man", "Mulholland Dr. (2001) – The Criterion Collection", "Eraserhead (1997) – The Criterion Collection", "Nominees & Winners for the 74th Academy Awards: Academy of Motion Picture Arts & Sciences", Academy of Motion Picture Arts and Sciences, "Chicago Film Critics Awards – 1998–2007", Boston Society of Film Critics Award for Best Film, Chicago Film Critics Association Award for Best Film, The Lord of the Rings: The Return of the King, National Society of Film Critics Award for Best Film, New York Film Critics Circle Award for Best Film, Online Film Critics Society Award for Best Picture. 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. [52] Lynch places these often hackneyed characters in dire situations, creating dream-like qualities. With a lot of struggle, she manages to get to Los Angeles City and break into an apartment. Mulholland Drive is a street and road in the eastern Santa Monica Mountains of Southern California.It is named after pioneering Los Angeles civil engineer William Mulholland.The western rural portion in Los Angeles and Ventura Counties is named Mulholland Highway.The road is featured in a significant number of movies, songs, and novels. [12], Actress Sherilyn Fenn stated in a 2014 interview that the original idea came during the filming of Twin Peaks, as a spin-off film for her character of Audrey Horne. [120] In 2010 it was named the second best arthouse film ever by The Guardian. "[26] While Harring was quoted saying, "The love scene just happened in my eyes. [35] Author Valtteri Kokko has identified three groups of "uncanny metaphors"; the doppelgänger of multiple characters played by the same actors, dreams and an everyday object—primarily the blue box—that initiates Rita's disappearance and Diane's real life. She was offered the part two weeks later. Mulholland Drive has been seen by numerous critics as the pinnacle of David Lynch’s filmmaking career, as the film in which he finally put together all of the elements that had appeared in his earlier films but had never quite congealed in so effective a fashion. [60], Betty, however difficult to believe as her character is established, shows an astonishing depth of dimension in her audition. [43], After Betty and Rita find the decomposing body, they flee the apartment and their images are split apart and reintegrated. Adam refuses and returns home to find his wife cheating on him. "[44], The relationships between Betty and Rita, and Diane and Camilla have been variously described as "touching", "moving", as well as "titillating". [134] It is the second David Lynch film in this line of Blu-rays after The Elephant Man. Although the audience still struggles to make sense of the stories, the characters are no longer trying to solve their mysteries. 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. Media portrayals of Naomi Watts' and Laura Elena Harring's views of their onscreen relationships were varied and conflicting. At dinner, Diane states she came to Hollywood from Canada when her Aunt Ruth died and left her some money, and she met Camilla at an audition for The Sylvia North Story. Note the occurrences surrounding the man behind Winkie's. It was released without chapter stops, a feature that Lynch objects to on the grounds that it "demystifies" the film. [34] One analysis of Diane suggests her devotion to Camilla is based on a manifestation of narcissism, as Camilla embodies everything Diane wants and wants to be. [135], On July 15, 2015, The Criterion Collection announced that it would release Mulholland Drive, newly restored through a 4K digital transfer, on DVD and Blu-ray on October 27, 2015, both of which include new interviews with the film's crew and the 2005 edition of Chris Rodley's book Lynch on Lynch, along with the original trailer and other extras. [102] In New York, Peter Rainer observed, "Although I like it more than some of his other dreamtime freakfests, it's still a pretty moribund ride ... 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. 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. "[30], David Lynch uses various methods of deception in Mulholland Drive. To, koľko súvislostí v ňom vám niečo povie, záleží od vaÅ¡ich osobných prežitkov a uvedomovania si ich miesta vo … 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. When they investigate, the figure appears, causing the man who had the nightmare to collapse in fright. Although she doesn´t die in the accident, she ends up severely injured and in a profound shock. identities, unreal image of Betty all the while and Rita how she landed up in car etc. After viewing Lynch's cut, however, television executives rejected it. [40] Many of the characters in Mulholland Drive are archetypes that can only be perceived as cliché: the new Hollywood hopeful, the femme fatale, the maverick director and shady powerbrokers that Lynch never seems to explore fully. Meanwhile, a bungling hitman attempts to steal a book full of phone numbers and leaves three people dead. [92] The song tragically serenades the lovers Betty and Rita, who sit spellbound and weeping, moments before their relationship disappears and is replaced by Diane and Camilla's dysfunction. Traveled Mulholland Drive on way to Beverly Hills Hotel. The half-pilot, half-feature result, along with Lynch's characteristic surrealist style, has left the general meaning of the film's events open to interpretation. . [35] In an explanation of her development of the Betty character, Watts stated: 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. Groundwork was laid for story arcs, such as the mystery of Rita's identity, Betty's career and Adam Kesher's film project. "[55] However, in another interview Watts stated, "I was amazed how honest and real all this looks on screen. Witnessed by Diane, Adam is pompous and self-important. Rita is Betty's fantasy of who she wants Camilla to be. ... Mulholland Drive is the monster behind the diner; it's the self-delusional dream turned into nightmare. Please note: this website is intended solely for employees and affiliates of The Mulholland Drive Company, LLC. They define it as “a work of fiction or drama designed to hold the interest by the use of a high degree of intrigue, adventure, or suspense”. [136][137] It was Lynch's second film to receive a Criterion Collection release on DVD and Blu-ray, following Eraserhead which was released in September 2014.[138]. [33], Philosopher and film theorist Robert Sinnerbrink similarly notes that the images following Diane's apparent suicide undermine the "dream and reality" interpretation. [42] Commenting on the contrasting positions between film nostalgia and the putrefaction of Hollywood, Steven Dillon writes that Mulholland Drive is critical of the culture of Hollywood as much as it is a condemnation of "cinephilia" (the fascination of filmmaking and the fantasies associated with it). Lynch was awarded the Best Director prize at the festival, sharing it with co-winner Joel Coen for The Man Who Wasn't There. At 2 a.m., Rita awakes suddenly, insisting they go right away to a theater called Club Silencio. 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". [62] Instead of threatening, she inspires Betty to nurture, console and help her. I think he's the one guy the audience says, 'I'm kind of like you right now. [63] According to film historian Steven Dillon, Diane transitions a former roommate into Rita: following a tense scene where the roommate collects her remaining belongings, Rita appears in the apartment, smiling at Diane. [131] In spite of Lynch's concerns, the DVD release included a cover insert that provided "David Lynch's 10 Clues to Unlocking This Thriller", although one DVD reviewer noted that the clues may be "big obnoxious red herrings". The last one-fifth of the film presents Diane's real life, in which she has failed both personally and professionally. Sounds intriguing, right? 1 Helpful vote. Optimum Home Entertainment released Mulholland Drive to the European market on Blu-ray as part of its StudioCanal Collection on September 13, 2010. [94] It drew positive reviews from many critics and some of the strongest audience reactions of Lynch's career. 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. Several theorists have accused Lynch of perpetuating stereotypes and clichés of lesbians, bisexuals and lesbian relationships. "[103] In The Washington Post, Desson Howe called it "an extended mood opera, if you want to put an arty label on incoherence". Both then turn and smile pointedly at Diane. It’s made by Nubiles crew so you can expect very high quality, no dobuts. 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.' 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. Mulholland Drive estas usona filmo reĝisorita kaj surscenigita de David Lynch.Ĝia titolo aludas al la serpentforma kaj danĝera vojo, kiu kondukas al Holivudo.. La rakonto absorbis multajn spektantojn pro sia aparteco kaj sia pensigeco. There's no purpose or logic to events. [5], Since its release, Mulholland Drive has received "both some of the harshest epithets and some of the most lavish praise in recent cinematic history". There, the emcee explains in different languages that everything is an illusion; Rebekah Del Rio comes on stage and begins singing the Roy Orbison song "Crying" in Spanish, then collapses, unconscious, while her vocals continue. Watch them during their daily routine, holidays and very intimate moments. Betty locks eyes with Adam, but she flees before she can meet him, saying she is late to meet a friend. Another theory offered is that the narrative is a Möbius strip, a twisted band that has no beginning and no end. [9][10], 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. Ross observes that there are storylines that go nowhere: "Perhaps these were leftovers from the pilot it was originally intended to be, or perhaps these things are the non-sequiturs and subconscious of dreams. ", Originally conceived as a television series, Mulholland Drive began as a 90-minute pilot produced for Touchstone Television and intended for the ABC television network. You want to get it, but I don't think it's a movie to be gotten. Phim Mulholland Drive nói về một vụ tai nạn thảm khốc đã diễn ra, 2 tài xế chết ngay tại chỗ còn người phụ nữ ngồi đằng sau bị chấn thÆ°Æ¡ng mạnh.Trong phim hd này, khi tỉnh dậy, cô không thể nhớ được điều gì. [8] Del Rio, who popularized the Spanish version and who received her first recording contract on the basis of the song, stated that Lynch flew to Nashville where she was living, and she sang the song for him once and did not know he was recording her. [61] Betty's acting ability prompts Ruth Perlmutter to speculate if Betty is acting the role of Diane in either a dream or a parody of a film that ultimately turns against her. But it is Betty's identity, or loss of it, that appears to be the focus of the film. Diane Selwyn wakes up in her bed in the same apartment Betty and Rita investigated. 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. 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. But it obviously works for him. [57] Her perkiness and intrepid approach to helping Rita because it is the right thing to do is reminiscent of Nancy Drew for reviewers. Lynch has declined to offer an explanation of his intentions for the narrative, leaving audiences, critics, and cast members to speculate on what transpires. He also portrays Betty as extraordinarily talented and that her abilities are noticed by powerful people in the entertainment industry. [124] In 2011, online magazine Slate named Mulholland Drive in its piece on "New Classics" as the most enduring film since 2000. The person who saw it, according to Lynch, was watching it at six in the morning and was having coffee and standing up. She's not just 'in' trouble—she is trouble. [18][19] Objections included the nonlinear storyline, the ages of Harring and Watts (whom they considered too old), cigarette smoking by Ann Miller's character and a close-frame shot of dog feces in one scene. 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. "Mulholland Drive" is a movie along those lines, though its filmic palette is broader, its setting (Hollywood and the film industry) more portentous, and its themes plainer. With Naomi Watts, Laura Harring, Justin Theroux, Jeanne Bates. Tony Krantz, the agent who was responsible for the development of Twin Peaks, was "fired up" about doing another television series. Mulholland Drive (eng. [21] This has also led one theorist to conclude that since Betty had naïvely, yet eagerly entered the Hollywood system, she had become a "complicit actor" who had "embraced the very structure that" destroyed her. Reviewers note that Badalamenti's ominous score, described as his "darkest yet",[87] contributes to the sense of mystery as the film opens on the dark-haired woman's limousine,[88] that contrasts with the bright, hopeful tones of Betty's first arrival in Los Angeles,[84] with the score "acting as an emotional guide for the viewer". All n All success”, “The movie is about difference between fiction and reality. David works from his subconscious. 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".[52]. She and Betty have sex that night. 13.Kim Kardashian Broke Down On Mulholland Drive And Called The Tow Truck Watch young guys having their lucky day with the world’s most popular MILF actresses! [51] Lynch pays direct homage to Persona in the scene where Rita dons the blonde wig, styled exactly like Betty's own hair. [70] Lynch also infused subtle rumblings throughout portions of the film that reviewers noted added unsettling and creepy effects. In a similar interpretation, Betty and Rita and Diane and Camilla may exist in parallel universes that sometimes interconnect. 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. [58] She serves as the object of desire, directly oppositional to Betty's bright self-assuredness. Lynch wrote a part for her in the film and used the version she sang for him in Nashville. [25], 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. In the darker part of the film, sound transitions to the next scene without a visual reference where it is taking place. It tells the story of an aspiring actress named Betty Elms (Watts), newly arrived in Los Angeles, who meets and befriends an amnesiac woman (Harring) recovering from a car accident. Costume Designer Amy Stofsky. Rita (the femme fatale) and Betty (the school girl) represent two classic stock lesbian characters; Heather Love identifies two key clichés used in the film: "Lynch presents lesbianism in its innocent and expansive form: lesbian desire appears as one big adventure, an entrée into a glamorous and unknown territory". [37] For Steven Dillon, the plot of the film "makes Rita the perfect empty vessel for Diane's fantasies", but because Rita is only a "blank cover girl" Diane has "invested herself in emptiness", which leads her to depression and apparently to suicide. David Lynch sold the idea to ABC executives based only on the story of Rita emerging from the car accident with her purse containing $125,000 in cash and the blue key, and Betty trying to help her figure out who she is. The American-French co-production was originally conceived as a television pilot, and a large portion of the film was shot in 1999 with Lynch's plan to keep it open-ended for a potential series. Though little more clarity would have been fine. experience. [31] Repeated references to beds, bedrooms and sleeping symbolize the heavy influence of dreams. Nothing makes any sense because it's not supposed to make any sense. 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. [74] Todd McGowan writes, "One cannot watch a Lynch film the way one watches a standard Hollywood film noir nor in the way that one watches most radical films. Film critic Glenn Kenny, in a review of the film for Premiere, said that the relationship between Betty and Rita is "possibly the healthiest, most positive amorous relationship ever depicted in a Lynch movie",[45] whereas the French critic Thierry Jousse, in his review for Cahiers du cinéma, said that the love between the women depicted is "of lyricism practically without equal in contemporary cinema". [28], 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". Will the passion and experience beat the high amount of male hormones? Dinamai setelah perintis insinyur sipil Los Angeles William Mulholland . [69], Adam Kesher (Justin Theroux) is established in the first portion of the film as a "vaguely arrogant",[70] but apparently successful, director who endures one humiliation after another. [47] Betty and Rita were chosen by the Independent Film Channel as the emblematic romantic couple of the 2000s. [35], 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".