Film Essay : Mulholand Drive (David Lynch) : Structures of the unconscious and preconceived
David Lynch has build his career and his cult status by films dominated by the "logic" of the irrational. Conventional Hollywood linear narratives never interested Lynch, so he, despite his obsession with American pop culture, music, comics, pitfalls and donuts in his special filmfilial approach, is closer to his European counterparts like Bunuel, Bergman or Fellini.
His career began with an avant-garde, experimental film Eraserhead (1977), but in order to make his bizarre visions closer to the demands of a more conventional commercial production, he made films such as Elephant man, Dune and Blue Velvet, and they represent his let's call them "most normal" films. In the 1990s, after the relative failure of the TV series Twin Peaks (yes, the failure: the cult status he gained was thanks to the Europeans and the Japanese, in the US it was taken off the program after the second season) Lynch looked like he had completely abandoned the very thought of any compromise.
The indication of this view was also the film Twin Peaks: Fire walk with me (1992), destroyed by the critics and ignored by the audience, is now somewhat revalued. THE Lost Highway (1996) was equally uninterested in the demands of the average cinema consumer, and criticism was only slightly more favorable. After the most controversial specimen in the entire Linch career - linear, simple, warm human Straight Story - Lynch returns with Mulholand Drive with its recognizable and unique style, just to come across the overall enthusiasm of the critics and the cult status of those few American viewers who made an effort to look at him.
Europe, and the rest of the non-American world, reacted much better to the latest Lynch, to what only limited people consider "common sense": Palme D'or shared in Cannes in 2001 with Koen brothers, as if it was an attempt of redemption for a traumatic and negative reception of Twin Peaks in that same Cannes, while in the crowds of awards received by various professional associations in the United States, he sees a sense of guilty conscience due to the poor treatment of his earlier films. The nomination for Oscar for best director is closest to what Lynch was able to gain in official ultra-conservative America today.
Mulholland Dr. is the culmination of Lynch's research of delirium states that emerge below the sleek surface of "normal" and "common" America, as well as the motive of the lost (or duplicated) identity that has become prominent since the incomprehensible film version of Twin Peaks.
The story of the constructs of reality, the inability to distinguish the reality from illusion, the story of problematic and unclear identity issues, dark passions, conspiracies, ambitions, hidden intentions, faust contracts and unconcealed crimes - from the world's largest Dream Factory.
SYNOPSIS 1- THE TIME OF VIEWING
Girl (Rita) who survives a car crash and possible murder, in shock descends into the city and finds himself in a flat that is unlocked at the moment. The young man in the restaurant is talking to the psychiatrist about his dream about that place, and the man hiding behind the wall nearby. He dies of fear when he approaches the wall again.
Betty, from Canade comes to Hollywood with her aunt, and finds in the apartment a girl who is under the impact of the accident, completely lost her memory.
A young filmmaker preparing his new film, gets demand by people from the mafia to give the leading role to a person named Camilla Rhodes. The hired killer clumsily executes the task in the building. Betty decides to help a girl from an accident when she finds her purs, and in that purse a huge amount of money and a blue key of an unusual shape. The hired killer is being asked around the circle whether someone saw a person who according to description corresponds to a girl who survived the accident. Betty and Rita (giving her a name based on the poster of a famous American actress) begins their own investigation of the case.
The director, refuses to interfere with casting, and after reveals that the whole project has been canceled and that all his bank accounts are frozen, he goes home to find his wife is cheating on him. Betty and Rita go to the same restaurant that the young man dreamed, where Rita, with the help of the identification card that the waiteress is wearing, remembers the name: Diane Selwyn.
Mafia people arrange a meeting with the director on a ranch outside the city, where a man dressed as a cowboy gives director another chance for the same movie with determined actress. An exasperated neighbor intrudes into the apartment and announces an abstract danger for Betty and Rita. Betty is preparing for some kind of casting with her aunt's friends, where they are all more than enthusiastic about her performance. There, at first glance, she falls in love with the director, just at the time when he accepts to choose a certain Camilla Rhodes.
After that, Betty and Rita go to the apartment of Diane Selwyn, whose address they found in the directory. There they find her dead on the bed. In their apartment Betty calms down Rita, which is affected by the events, and they establish an intimate relationship. Rita wakes up in the middle of the night with a vision, and the two of them go to a theater in which they have never been, where they watch a very strange show. Betty finds in her purse a blue box that she unlocks with Rita's key. Then Betty disappears from the movie as if she had never been there.
SYNOPSIS 2 - GENERAL TIME OF THE FILM
Diane Selwyn, a girl from a small town in Canada is coming to Hollywood after a dance show competition and after the death of her aunt, who worked in the film industry, and left her some money. However, Diane experience great disappointment when in the film, in which she wanted to get a leading role, she gets only support. The lead role goes to Camilla Rhodes, a girl who is revealed as a great talent, and for whom Diane soon strongly binds. Their relationship goes beyond intimacy, as Camilla helps her to get role in some of her next films. On set of shooting one of those films, Camilla falls in love with a young director and decides to end the relationship with Diane.
Diane, still broken up, accepts a friendly invitation from her ex-girlfriend to come to dinner, at the house on Mulholland Dr, where she is portrayed as Camilla's good friend. After she realizes that she has lost the person she wanted forever, seeing her kissing with another woman, in front of her future husband who does not mind it at all, Diane hires a killer in local restaurant. In the psychic distraction and solitude of masturbation, she puts herself on the bed and she finds herself in a dream from which she does not want to wake up, in order to make the crime she paid for only a passing thought. After waking up, and confronting reality, Diane, in her tangent sleep, kills herself in hysteria. KEEP READING IN PAID CONTENT
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