Mulholland Drive

Mulholland Drive ★★★★★

1000th movie!

David Lynch focuses on turning dreams into images, even if they seem meaningless or random. No one does it better, because he isn't attached to a central narrative logic.
He only attaches himself to the character in focus (Diane here) and analyzes the points of her history to distort them in a whirlpool of sensations transformed in pictures.

Whether she's sleeping or awake, Diane is always dreaming, and Lynch makes no distinction between what is "real" and what is "dream" because it doesn't matter. Diane's basic story will be told and the important thing is to show her feelings.

To understand the film, just remember our own dreams. It's amazing how Lynch can translate this into pictures.

When we wake up, we can understand the meaning of some parts, others are only a crazy series of memories, important or not, that the brain mixes in his nightly "check up" during heavy sleep.

In addition, to analyze the logic of the dream is necessary first the intimate analysis of the owner of the dream, and at that point Lynch makes things easier for us because Diane is a very common character and the dramas and clichés of LA are already widely known.

It's interesting to observe how Diane's dream mixes the genres and clichés of cinema with her memories. A horror movie at the diner, a mix of action and comedy involving the killer hired by her (that reminded me of "Pulp Fiction"), a classic Noir mystery with a femme fatale (Camilla) running away from mafiosos, and a collection of scenes with typical Hollywood's clichés, like a husband finding his wife in bed with the pool cleaner, a cowboy giving a moral lesson and, of course, the old tale of a young, innocent and good-hearted girl who comes to LA dreaming with fame as an actress.

In short, Diane's dream is like the movie of her life, strolling through various genres and happening just moments before her death (just like another famous Hollywood cliché).

The most fun and exciting part is analyzing the details of Diane's dream, that finds all the explanations in the second part of the film.

From easily comprehensible moments like the opening with Camilla fleeing her murder on Mulholland Drive which is an obvious mix between the street of the party in the director's house (where Diane's world collapsed completely) and the kill contract she made latter, up to impressive details as the conversation between "Betty" and Coco where Coco says that Betty doesn't fool her in a clear reimagination of the conversation with the director's mother in the party.

There are so many details that multiple views are required.

"Mulholland Drive" is deservedly considered by many as the best movie of the 21st century so far. David Lynch's achievement of capturing in images the surreal atmosphere of dreams with stunning details is a testament to the fact that cinema's ability to convey sensations is infinite, and it is limited only by the creativity of its director.

Just as Kubrick used to say: "If it can be written or thought, it can be filmed".


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