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| quote: | Originally posted by lurid
Well it's open to interpretation...that's what I like about it. In short, the first half was a dream and the second was real with some hallucinations. Lots of symbolism. I could be wrong, I didn't go to film school! |
DONT READ THIS IF YOU HAVENT SEEN MULHOLLAND DRIVE.
ok theres my warning.
From the point of the great spatial and narrative shift in Mulholland Drive which has become known as 'the last 25 minutes', we view the high point of Diane Selwyn's arrival in Hollywood to pursue what looks to be a promising career as an actress. However, in a relatively short period of time, Diane falls prey to a succession of serious set backs in life. Unable to attain either steady or satisfying employment in her chosen field, nor able to enjoy the support and respect of either her family or her peers, Diane seeks vicarious success through becoming romantically entangled with successful actress, Camilla (Laura Harring), only to wind up being painfully and publicly jilted by her.
In the wake of these set of events, Diane quickly becomes caught within a miasma of depression, paranoia and perceived hurts from which there is no easy exit. Diane begins to view her ex-lover as a living reminder of her failures in life and resolves that she must be rid of her and all that she represents. But there is no final redemption on the other side of such an act for Diane, whose rising guilt, coupled with everything else that's recently gone so bad in her life, finally sends her into the arms of suicide.
Poised within the hallucinatory portal between life and death, Diane is presented with the opportunity to play her life over. Within the all too beautiful world of Diane's imagination, to which the first 2 hours of Mulholland Drive is devoted, Diane rearranges the aspects of her life into a perfect form. Much like Shadow of a Doubt, Diane's world is a charmed one, featuring a hint of mystery around every corner. In this world, Diane, who is now known in the film as Betty, is a beautiful, talented young actress and well loved daughter who will clearly have Hollywood at her feet in no time.
Into this world, Diane also manages to bring her dead lover back to life. Rewriting history to have her escape the attempt on her life that Diane herself staged, Camilla emerges in Diane's life again as a helpless, mysterious stranger with no memory of the past. The note of danger with which Diane re-enlivens the memory of her lover allows Diane to have her all to herself, in secret. This act finally allows the power balance shift in Diane's favour, and the girls are able to fall in love all over again. But this fantasy world can not last forever, as even in her wildest, dying dream, Diane is unable to imagine anyone but herself profess their love first in that relationship. And ultimately, it is her lover who shakes Diane out of her dream world to tell her that her fantasy world is a facade, and that she must now let her dying mind be silent.
thats just one interpretation, but that was such a fucked up movie, and sort of emotionally draining like requiem for a dream. the music was great and set up the scenes really well. i cant think of any more fucked up movies that werent already mentioned, but my favorite were donnie darko, requiem for a dream, and mulholland drive.
oh and 'vanilla sky' was just a hollywood-ized version of an earlier movie called 'open your eyes' or 'abre los ojos' in spanish. i guess its really good, but ive yet to check it out.
Last edited by TrAnCe CoNtRoL on Mar-12-2003 at 01:44
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Hehe... I don't watch movies all that often anyway, so I unfortunately can't recommend any others. I can definately get some recommendations though.
Requiem for a Dream was definitely draining...
He seems to poke fun and make you laugh at the most awkward situations...possibly trying to make a point and make you feel guilty...
