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Twin Peaks (pg. 3)
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| Zharen |
| quote: | Originally posted by WittyHandle
Lynch can be a little much for me sometimes. I think TP really benefitted from Mark Frost balancing him out. |
Yeah, I just gave Mulholland Drive a try a week ago. Made no ing sense at all. |
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| Meat187 |
| quote: | Originally posted by Zharen
Yeah, I just gave Mulholland Drive a try a week ago. Made no ing sense at all. |
Dude :mad: |
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| netroM |
| quote: | Originally posted by Zharen
Yeah, I just gave Mulholland Drive a try a week ago. Made no ing sense at all. |
Dude. :mad: |
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| WittyHandle |
| Inland Empire's just as incoherent. |
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| bananas |
| quote: | Originally posted by Zharen
Yeah, I just gave Mulholland Drive a try a week ago. Made no ing sense at all. |
Dude:mad: |
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| WittyHandle |
| I saw Mulholland Drive at the theater the day after heavy partying :nervous: |
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| Zharen |
| quote: | Originally posted by Meat187
Dude :mad: |
| quote: | Originally posted by netroM
Dude. :mad: |
| quote: | Originally posted by bananas
Dude:mad: |
Feel free to give me your interpretations of the film if you want. I wanted to like it. Things were going pretty good during the first half. But after the lesbian sex scene...:conf: |
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| lostpsyte |
| quote: | Originally posted by Zharen
Feel free to give me your interpretations of the film if you want. I wanted to like it. Things were going pretty good during the first half. But after the lesbian sex scene...:conf: |
Pornos aren't meant to have plots, jeez |
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| Silky Johnson |
| Started watching it on Netflix... is so bizarre and awesome. Episode three..sandwich eating scene at the dinner table wtf. Lol. |
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| Meat187 |
| quote: | Originally posted by Zharen
Feel free to give me your interpretations of the film if you want. I wanted to like it. Things were going pretty good during the first half. But after the lesbian sex scene...:conf: |
The fact that you think there should be something like a correct interpretation and that the movie has to make sense shows that you're on the wrong path.
Learn to handle abstract scenes, surrealism, weird humor, etc or go watch an Adam Sandler movie. Dude. :mad: |
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| Halcyon+On+On |
| quote: | Originally posted by Zharen
Feel free to give me your interpretations of the film if you want. I wanted to like it. Things were going pretty good during the first half. But after the lesbian sex scene...:conf: |
http://www2.tranceaddict.com/forums...=3#.T-oE7vWcT3A
| quote: | Originally posted by Halcyon+On+On
I like to think of Mulholland Drive as a series of dream sequences central to Naomi Watts' character - which changes actresses later in the movie, as though to represent the adoption or symbiosis of shared dreams. It's not the 'you can't tell what's real and what's not, ooOooOoOooo' kind of movie, but more like the collective connections of one idealistic young woman's failed aspirations as her psyche and self worth take a nosedive outside of what we might perceive to be the night's dream content.
I don't believe it's terribly important to think of the entirety of the film as her dreams, either - indeed, perhaps it's more valuable to consider the various scenes as mere selections out of the random firings from many of the recurring characters, their dream relationships of impending significance as we (presumably) are taken from memories of actual happenings to projections of emotional resonance from these events. The diner is a fine example of this, as its recurrence serves as a kind of nexus for several (if not all) of the characters.
There is a reason the movie begins to sort of 'fall apart' toward the end; that is, scenes become disjointed and awkward, characters begin doubting one another as well as themselves, we are taken from high-falutin events such as the Opera sequence, to a masturbatory cry sequence, the theme of 'Silencio' resonating through somebody's subconscious like a song stuck in your head, the sexual longing an obviously conflicted gesture witnessed to bring about a sense of crestfallenness. The dinner party scene is of most importance, because its transition is practically nonexistent - we suddenly find our characters mashed together with a dreadful sense that they do not belong or are not welcome in this situation - like any dream of guilt or shame or embaressment, we are forced to break bread next to people who despise us for reasons we do not even know. The final scene has Diane completely falter in self-worth, the blue key representing the ability to realize -or unlock- ones potential, where she is plagued with hallucinations and kills herself - in her dream? In real-life? Maybe it speaks of the importance of the dream-life, or the life-dream that her ambitions had mired her in.
There aren't any answers in the film on purpose, as Lynch has completely declined to offer people any insight into the narrative, and would rather leave it to interpretation. |
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| Chimney |
| quote: | | There aren't any answers in the film on purpose, as Lynch has completely declined to offer people any insight into the narrative, and would rather leave it to interpretation. |
:rolleyes: |
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