Mulholland Drive:chiave di comprensione

[anamichiN1]

L'avevo registrato,ma tra esami e altro ieri me lo son visto per la prima volta.
Dopo una prima,attenta,visione,mi son detto:è un puzzle,ricomponi i pezzi e avrai la visione d'insieme.

Vediamo un pò:la bella bruna non è lesbica nè ha perso la memoria..
quando si viene a contatto con la scatola blu e quel troglodita in qualche modo i nostri incubi prendono forma e si arriva alla pazzia.

L'ho visto una sola volta e non voglio rivederlo se non quando avrò assodato diversi dubbi.

PS:ma la bruna ha lo stesso nome della ragazza bionda che cantava(Camilla mi pare),che era un piano preparato?
forse la bruna ricorda tutto dopo essere stata al teatro..ne sono quasi sicuro..e la ragazza sdraiata sul letto trovata morta nell'appartamento 17 era quella che aveva fatto l'audizione (Camilla mi pare) ed è stata uccisa dal regista o peggio dalla bruna che poi ne ha preso l'identità..

Sono teorie ed ipotesi..datemi le vostre conoscenze e ditemi quanto ho capito!

[metalchild]

Io dopo averlo visto andai a cercare su internet qualche commento e trovai tutti d'accordo su una cosa:
IL FILM NON HA INTERPRETAZIONI!!!
E tutti osannavano Lynch perchè aveva avuto il coraggio di fare un opera fregandosene se il pubblico capiva o meno!
Io ci sono veramente rimasto male.
Il film è pieno zeppo di cose incomprensibili!!Ma quando esce il tipo dalla caffetteria, va a vedere nel parcheggio e trova quel ceffo nascosto dietro al casotto e muore dallo spavento!!!Che cosa assurda!!!

[El Gugliauser]

Gia' il fatto che i primi 100 minuti siano stati girati come pilot di una serie televisiva poi mai partita (e che avrebbe sviluppato la trama in un certo modo), e che i 30 conclusivi siano stati poi aggiunti da Lynch un anno dopo per salvare quello che gia' era stato girato dovrebbero far capire quanto sia assurdo pensare di trovare un significato univoco per questo film.

Ma vi rendete conto?

Avrebbero dovuto essere tante puntate, e sicuramente la trama originariamente prevista NON era quella che poi si e' concretizzata in quei 30 minuti aggiuntivi. Quei 30 minuti aggiuntivi (che molti hanno interpretato come "il ritorno al mondo non onirico, la verita'") sono un RATTOPPO, una patetica scusa per dare una giustificazione ai primi 100.

Chi dice che Lynch e' un grande perche' il suo film ha diversi piani di lettura, e' un segaiolo mentale! Lynch ci ha presi tutti in giro, ha creato un film sconclusionato, assurdo e illogico. Con magari delle spiegazioni probabili, ma comunque tirate per i capelli. Lynch e' un maestro dell'assurdo, e dell'onirico, non vogliamo trovarci significati a tutti i costi!

NONOSTANTE questo, adoro Mulholland Drive: e' fatto della stessa materia di cui sono fatti i sogni. I sogni sono logici? No. Sono iperbolici, assurdi, incoerenti, grotteschi... e cosi' e' Mulholland Drive. Godetevelo con questa prospettiva, senza cercarci significati aggiuntivi...

[anamichiN1]

Io invece mi sono letto alcune chiavi di comprensione e mi accorgo che,voluto o meno,Lynch ha creato un capolavoro di originalità e vastità di comunicazione.
Il fatto che si tratti di un horror rende giustizia non alle immagini paurose(nessuna) ma all'interpretazione che si può cogliere.
E allora i sogni virtuali della nostra Naomi Watts e i sui reali incubi ricreano un complesso di situazioni assolutamente grottesche e penetranti.
Lynch è un genio,un pioniere,forse fortunato ma audace.

[El Gugliauser]

Inviato da anamichiN1
Io invece mi sono letto alcune chiavi di comprensione e mi accorgo che,voluto o meno,Lynch ha creato un capolavoro di originalità e vastità di comunicazione.

Ecco, basta rendersi conto che puo' benissimo essere "voluto o meno", piu' probabilmente "o meno"....

[-Lùthien-]

io credevo fosse tutto un sogno e che la scatola blu riportasse alla realtà...il bello è che non sempre è possibile scindere la realtà dal sogno....aaaa lo dovrei rivedere!!!!!!come lo vorrei in dvd!

[El Gugliauser]

ECCO UNA POSSIBILE INTERPRETAZIONE CHE HO TROVATO:

Some thoughts and lots of spoilers: Have you noticed that when we go to sleep we sometimes carry some of the residue of the day into our dreams with us? Just bits and pieces, usually. A little bit of everyday `reality' swept in that gets skewed and twisted in the fugue of sleep. Add to that a healthy dose of despair, and guilt and you could be on one hell of a trip. That, I think, is what we have here in the film Mulholland Drive. We start with the perspective of one climbing into bed and falling into a pillow… here the dream, and the skewed reality begins. Diane, now Betty, hits L.A. straight off the jitterbug circuit where she's just won a dance contest which has prompted her to try her hand at acting (makes since, right? Jitterbug contest winner = great actress pre-req). Sounds like something straight out of a silly old fifties movie right? Coincidentally, as you find out later in the film, Diane in an extra on the set of a movie set in the fifties.

In Diane's dream, Betty hasn't got a care in the world. Everyone is so nice to her and her situation couldn't be more perfect; Her aunt is conveniently away and has left Betty her fantastic apartment. The aunt has also got Hollywood connections and has arranged for Betty to go in for an audition, her first ever, and of course, they love her (with all her jitterbug experience how could she fail?). She's just perfect for the part. She's not had to suffer the pain of rejection. Rejection and failure, those elements seem to me major players in this picture and missing thus far in the film. It seems it's at this point that reality first tries to creep into her dream. The pain of not getting a part in reality is glossed over in the dream by some strange characters making the director cast some unwanted for the part. We are also now taken on some side venues that, to me, are just remnants of the real world that Diane has drug into her dream but are, in the end, inconsequential. Now comes the unavoidable part… Rita (Camilla in the real world), Diane's love interest. There's no way around casting her in the dream. She's been Diane's focus for far too long for that. In this role, Rita is the beautiful, sole survivor of a horrible car accident who conveniently has amnesia so she can be anyone Betty's mind needs her to be, except for the person she really is, of course. Here, Rita is dependent on Betty, she needs Betty. Just the way Diane would love to have been needed by Rita.

In the real world Diane is all messed up. She wants to live the Hollywood dream but, the reality is that she's not a star and probably never will be. She's infatuated with a woman, Camilla, who is a star but is no longer interested in Diane. Her obsession's new romance with the director of the film that both women are working on is rubbed in Diane's face and she snaps. Have you ever noticed how that when something bad is going to happen, something you were dreading but powerless to stop, it seems to occur with agonizing slowness when it does finally happen? The point where the director announces the impending nuptials between himself and Diane's intended, plays just like the eponymous scenario. During this scene we see the cowboy walk by who will be pulled into the dreams later simply because of his presence during this powerful turn/crack in Diane's mind. Diane goes off the deep end and hires someone to kill Camilla. The agony of loosing Camilla and the guilt of having her killed is too much for Diane. She sleeps all day, trying to escape the reality. For the brief time we do see her in the real world is when she is awakened by her neighbor, collecting some things left behind after the two swapped apartments. Diane is in her robe, hair a mess looking like she's been in bed for days. (Anyone who has been or knows someone that's been depressed, knows this is probably the case). The neighbor informs Diane that some detectives came looking for her again. Undoubtedly investigating Rita's disappearance/death. One of the last times we see Diane, is her standing in her kitchen thinking back on the things that led to this point. To the point where guilt and despair cause her to take her own life. The next time we see her in reality is when the demons have come home and she has to shut them out for good…

As far as the homeless guy in the back of Winkie's goes (note the name denotes sleep: catch a few winks – Winkie's, Ok maybe not) to me he could represent the dirty little secret in the back of Diane's mind. She did, after all, hire someone to kill Rita. The blue box might represent Diane's life; she has the key but never opens it herself. Once it is opened by Rita, we see that it is empty. Rita is the one that holds it in her hands and opens it up. In the end though, it's dropped by Rita and we see them no more.

As far as the old couple… that could be the finger of accusation. The innocent and honest seem to magnify guilt and shame just by their very existence.

To me the strangest thing in this movie is the aunt walking into the room after Rita drops the box… as though she heard it drop. Did she feel a disturbance in the force? Did she somehow feel Diane's life pass. We don't even know if she really is Diane's aunt or just another inane character having been dragged into Diane's dream.

[El Gugliauser]

ED ECCO UN'ALTRA (SIMILE, MA FORSE PIU' CHIARA)

Now into the point. What I believe, this movie is about an actress called Diane Selwyn (played by Naomi Watts), who has had a relationship with another actress, Camilla Rhodes (Laura Elena Harring). Their relationship has reached its end and now Rhodes, a famous actress is getting married with a talented director Adam Kesher. So, Diane is so fed up with Kesher and so jealous about Camilla she decides to hire a killer to get her. After this has succeeded, Diane is so messed up she decides to kill herself.

Now, mostly (I presume) the movie takes place in Diane's dream. This movie is a hard one to figure out, because even the events that take place in real life, aren't in any chronological order. So, the rest is for you, who have seen the movie, otherwise this part of the plot gets too complicated to understand. This is what I thought of what was dream and what was not: the movie begins with that dance sequence, and after that there's this haunting moment when you hear breathing and the camera falls down on a red pillow, revealing a bed. Obviously, I think this is the moment when Diane takes her life away and falls down on the bed, being dead; this part has to be in the end of chronological timeline. Then we move on to a road, following a car. I believe this is her dream, too, but it doesn't mean it couldn't have happened. I believe that Diane sees this weird dream pretty much in the end of her life, after she has got Camilla killed. Now, there's this sequence where Camilla is in a car crash, including the guy who Diane hired to kill her. Now, after this it gets fuzzy. Perhaps Camilla really survived a car crash, because it would connect her with the phone calls where they tell that she is still missing, one of the person to answer to the phone next to the red lampshade would've been Diane (see a identically same kind of a lampshade on a table next to the phone). Now, perhaps Diane pictured her escape/survival as a car crash, because in the end of the movie, which I believe is true in some parts, she's in a car and gets stopped exactly in the same place where the accident took place in the beginning of the film. Now, this would launch a serie of events that she transformed in a dream, a some sort of a modification. That would explain why the people were called with different names: Diane saw the people she knew in real life as different people in her dream, explaining why the waitress at the Winkie's was called Diane when she (as Betty Elms) went there with Camilla (as Rita in her dream). Now, in a sequence where Diane meets the killer, the same waitress was called as Betty. This kind of changing of the names happens a lot, perhaps Lynch wanted to show how mixed up the world of dreams can be, but still in a connection to the real world, reflecting from the memories of the person, who's dreaming.

Now, depending on the theory where she could've gotten all the people she saw in her dream from the real life, I have to mention the party she goes in the end of the film, the party where Camilla and Adam announce their engagement; in that room she sees all the persons who are in her dream, for example Coco, who's the manager of the house in Diane's dream, is in fact Adam's mother in real life.

Again, what is dream and what is not? Is the events that happened to Adam Keshner real or not? No, I assume. You see, in the party Adam explains how he and his wife divorced and how he got the car and so on. Now, earlier in the movie there's this scene when Adam arrives at home and find his wife in a bed with another guy; this would've been Diane's vision of the way it could've happened to him. Let's take the movie he is doing, as an example. In the parties, Diane explains that she and Camilla met while filming a movie directed by Bob Rooker and how she wanted the leading part and Camilla had it. Now, in her dream, Adam is shown the picture of Camilla Rhodes, but instead of real Camilla, this Camilla is blonde. Immediately Adam refuses to cast her in his movie. I think this was Diane's interpretation; she turned the things upside down. As with the young and rich director in real life, in Diane's dream he was bankrupt. And when it comes to the casting scene, I think it was Diane's way of hoping that he didn't want Camilla in the movie (in real life he loved her, and Diane was obviously jealous). Now, there's this particular scene that drew my attention on that matter: there's this scene where Adam Kesher's sitting on a chair in the studio, listening for some girls, who try to get the part. Try to follow me: Diane said how badly she wanted the role. Now, the first singer, named Carol, says to Adam how badly she wants the role and how she's sure that she gets it. Now, this is obviously a dream; Carol is in fact Diane who gets turned down in her dream, also, as the next singer, the blonde Camilla, has to be selected by force, because Adam is pressured by this weird cowboy who Diane see in the party, too.

There are many things to be mentioned, one of the most important is the scene where Lynch shows how messed up she was, while being awake, also. That is the scene where Diane makes coffee, pours it into a coffee cup. Now, one moment earlier her former mate picked up an ashtray from the table next to the sofa, and now, as the camera angle changes, not only has the coffee cup turned into a glass full of liquor, but also the ashstray is back on the table. And then she sees Camilla lying on the sofa and they make love. This is obviously a scene, which shows how messed up she was after she got real Camilla dead.

Now, the old couple are mysterious. In the beginning where Diane arrives to airport, she has company with her; an old couple, the woman is called Irene. Now this has to be in her dream because the old woman calls her Betty, right? But I think this is what had happened, it was just yet again interpreted by Diane. I think this is one of the symbolic clues we get; Diane memorizes her arrival in Los Angeles as a happy event, so in her dream the old couple is smiling all along. Then there is this weird box, a Pandora's box of somekind, where Diane falls into. I believe this box is symbolic, yet again and it represents her way of pushing her problems away in the past without dealing with them, closing them into this box. Now, in the dream Rita (Camilla, actually) gives her this key, obviously fitting into this box. I believe it is yet again symbolic. Now, Diane might have gotten the idea of a key from real life; the killer said that he would leave a blue key somewhere when the job was done and we see that key later on, on the table next to the sofa. In this dream the key is much more modern, but I think it has a great meaning why it was Rita who gave the key to Diane. I think Rita, or Camilla, was the person who unlocked her past because they shared so extense piece of it. Camilla was the person, who she had to erase, but to erase her, she would have to open the box to her memories once again. And now, after Camilla's gone, the box just doesn't keep closed anymore and all of the things she had locked away just explode on her face.

Now, there's this strange scene, which I think has a connection to the box and the death of Diane. This scene, where this man at Winkie's tells another that he saw a dream, which had this scary man standing behind the restaurant. Now, these two men leave and go to the backyard and the man who saw the dream sees the scary guy and obviously gets a heart attack. Now, right before Diane kills herself, we see this freaky man holding that blue box and some small people coming out of it. After a while these small people come into Diane's appartment and they turn out to be the old couple from the airport, chasing her. Now I think it was just Diane's imagination, which turned the things around yet again; she felt how the old memories attacked on her, making her life more miserable, so the folks, who were happy once, turned out to be scary and aggressive. So, I believe the freaky man was, yet again, symbolic; I believe he represented Death in the movie; that other guy died after seeing him and it was obviously that freaky guy who released those figures, those memories from the box.

[anamichiN1]

Tutto in inglese..in italiano non hai trovato niente?!?

[-Lùthien-]

un minimo d'inglese, lo dovrai conoscere

[anamichiN1]

Certo,ma che fatica!