Watched Aug 15, 2012
Walter Andrade’s review:
Boy, was I surprised.
I wasn't expecting nothing - and I mean nothing - from this film. I was hopping it would be so good that I would give it 3 stars. How wrong was I. But you gotta understand me, the only Lynch I knew was Blue Velvet which I honestly don't like that much.
Well, Mulholland Drive is different.
First, this narrative line. Now, honestly, what the hell is that? If there is something to compare this narrative, as well noticed my good friend Albert Elduque (Online Cinema Magazine Contrapicado, in Spanish) it's: Ascending and Descending. You could tell this story both in the same way Linch or exactly in the opposite way. It's the same fucking story. How powerful this storytelling technique is if you're trying to depict the condition of the Hollywood stars.
The film has many quotes but if I have to point a few they're Bergman's Persona and Wilder's Sunset Blvd. It's amazing that even though it would be easy to ape these films furtively, Lynch created something only he could have created and that is also a contemporary study of this condition. This quotes are not only interesting due their own cinematic strength but also because their metalinguistic meaning: they make this movie circular not only in the structure of the narrative but also in what is out of it, the timeless identity crisis in the actors condition.
That's why both characters are, in fact, two stereotypes of Hollywood's characters: the pure, innocent and hopeful blond, with a thin mouth, bright eyes; and the seductive, irresistible and relentless brunette.
It might be interesting to look that one of Lynch's forgotten works is the biography of Marilyn Monre, based in Anthony Summer's book, Goddess: the Secret Lives of Marilyn Monroe. It seems, however, that the actress he had chosen to play the main role died in her bed in fetal position. Now who is this Diane?
Now, if this isn't enough, Lynch also studies the broads of these actors. The mob influencing the director's decision, the affairs and the betrayals inside and outside the set, the difficulty to make a movie. And, if it's not enough, there is this dream-like sensation that surrounds the whole movie. You might look that when Camilla is dreaming, she does that with her eyes opened. Then, she wakes up as nothing had happen; and nothing really did. In the end, what's the real difference between reality and dream? Cinema and reality? Cinema and dream? To be an actress or to dream of it? What is the difference?
Silence. This movie is illusion. There is no band. There is no orchestra. It's all illusion.