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I believe this film reaches heights that are very rarely if ever achieved in cinema. The way Lynch captures alienation and rejection especially in the dinner party scene towards the end is astonishing, and by the time the credits had rolled I was totally freaked out and an emotional wreck.
This movie is perhaps the most masterful piece of work I've ever experienced on film, and it only gets better with each viewing. Thank you for your immensely insightful review.
I agree. The power of this movie is beyond the auteur theory. Lynch was wired in to something. Never, ever have I seen another movie that got so under my skin. I felt violated at times because it moved me so deeply and I couldn't explain exactly why it did.
I personally believe the film's basic plot is quite simple but presented in the utter turmoil appropriate for Diane's mental state. The opening sequence is Diane's origin story of sorts, her local yokel Jitterbug public access fame which is the catalyst for her movie star Hollywood dreams. We're then shown a first person view of Diane going to sleep as if that opening sequence was one of those fleeting sad memories you sometimes have in a moment of clarity. If you compare the bed in that scene, it's color-coded in stark red and is exactly the bed we see after Cowboy tells her "time to wake up" after the blue box is unlocked and Betty ceases to exist. Also compare the bed her aunt looks at prior to Cowboy showing up and then the red bed Diane wakes up in (and goes to bed in at the beginning), very different. I don't think the plot unravels at all after the blue box is opened, it simply signifies that reality has been unlocked, the dream is over. Diane wakes up from her fantasies and faces reality. The blue box symbolizes this big mystery Betty (Dream Diane) doesn't understand but in reality it's the blue key related to the hit she had ordered on Camilla in her unhinged jealous hatred. It's the ugly reality she can't deal with in her dream. Betty is everything Diane never achieved and Rita is everything Diane wanted Camilla to be. Now we're in the ugly reality part of the film where a crushingly uncaring, sexist and dirty Hollywood has chewed Diane up and spat her out into its back alleys. I think a lot of the second half of the film is quite self-explanatory after a second viewing especially. Also, I don't believe that at any point her dream, aka the first half of the film, is a puzzle to be neatly fitted into the second half as in "detail X in dream equals explanation Y in reality". It's her jumbled fantasy, anything goes and I believe her fleetingly having seen Patrick Fischler in the diner in the second half is a good indicator of that. Chronologically, that diner moment happens before the opening's sleep and dream sequence. Random details invade your dreams every day, it also occurs in the film. Sorry if this is rambling and/or repeats itself but just wanted to get some of my thoughts down as a huge fan of MD and someone who thinks the film is a lot more structured than it appears at first.
I was completely lost in this film until I read the suggestion that the first section of the movie is the dream and that at the point you mention ("wake up") reality sets in. Am I naive to believe that? Anyway, MD makes a lot more sense with that understanding.
Interesting review. I just saw Mulholland Dr. for the first time a matter of months ago and I was very unsure of what I thought about it for a while. But what was remarkable is that after weeks I still couldn't stop thinking about the movie and certain scenes were completely stuck in my head. Now after seeing it 3 times and a few months later, I still think about the movie all the time. The mystery and emotion of Mulholland Dr. is something truly unique that really resonated with me. I think this movie is seriously a work of art and I continue to love David Lynch more and more as I work my way through his filmography. Also, one scene you didn't mention that I'd like to highlight is the Winkie's diner scene. First of all, the whole scene is brilliant in how it reveals to the audience exactly what is going to happen and still manages to terrify you when the homeless man appears. But what is more fascinating and brilliant to me is how the same camera movement used in the Winkie's scene with the camera slowly wrapping around the corner of the wall is used again throughout the movie to increase tension. I found myself extremely on edge in scenes like when Betty arrives at her aunt's house and is going through the winding hallways looking to see if anyone's there, despite the fact that I already knew it was just Rita and there was nothing to be afraid of. All of this was simply due to the camera movement, and this sensation really stuck out to me. Even after the movie was over, I was still a bit paranoid when looking around corners in my own house, and I'm not exactly someone who scares easily. That's amazing filmmaking. There is so much more I could say but in short, as an 18 year old who is still getting into movies, the craft of Mulholland Dr. inspired me like few films have.
I love the scenes at the airport, 90s TV was tapping into 1950s cinema while switching to digital formats, which adds another layer to the meaning of the aesthetic choices made by Mr. Lynch.
Dear Deep Focus Lens character and person behind it, Thank you very much for your reviews in general and this one in particular, I find your reviews quite thoughtful and insightful, which I would say is quite rare on this medium. Mulholland Drive is my favorite movie of all times, I also saw it dozen of times and I think that's what got me interested in cinema in the first place. So thanks a lot for sharing your thoughts on it, and please keep up the good work!
Yes, Persona, Vertigo but most of all SUNSET BLVD (MULHOLLAND DR). Norma Desmond was a dying star down the Sunset Blvd, the street that runs through the centre of Hollywood. Diane Selwin was only an extra, only able to look down at the Hollywood lights from afar, from Mulholland Dr.
I absolutely loved Blue Velvet when I first watched it. It made it onto my "Top 20" favorite films list immediately. A friend suggested that I watch Mulholland Drive. I liked it but didn't love it on first viewing. On second viewing I began to 'get it'. This review has definitely encouraged me to see it again. I enjoy your film reviews because you seem to have a genuine insight into what cinema is trying to achieve, especially in the hands of truly creative film makers. Film criticism/review (I imagine) is a tricky business. Your understanding of the medium is always imaginative and refreshing. Thank you!
your film reviews are absolutely brilliant, insightful, and passionate. it's so incredibly inspiring, and we are all so lucky to hear your thoughts. you have a beautiful mind, truly. and so many wonderful films i've always loved shine into me in such new and wonderful lights each time you share your keen insights. KEEP GOING. PS- did you go to film school?
Thank you so much! I feel like I don't deserve such praise, but I'll take it anyway. ;) No, I don't go to film school. I started off as a film major when I was in college, but I switched my major to creative writing.
That is exactly what I felt when I first watched this film, I knew I had just witnessed something very special but I didn’t know what it was. I remember I went to bed at 4 am because I had to watch it again right after! Thank you for this review, it reminded me (again) why I love this film so much.
Just finished this film a couple minutes ago and wow. I was expecting crazy and abstract but not to the degree I witnessed. This really does live up to your overwhelming hype. Didn't think that high of a bar could be reached but sheesh. I mean I'm in shock just thinking about it. Really loved the way you described this one. Simplifies the complicated without undercutting it's brilliance in the process. Thank you for doing what you do on this platform. I feel like I learn more and more every time I watch one of these reviews.
Just wanted to say that I first saw this movie about 6 or 7 years ago and it blew my mind. I found your review of it shortly after watching it and have been watching your vids ever since. Thanks for what you do.
I just found you. Some of your talk goes over my head lol but you’ve become one of my favorites love how you break up this movie Nobody has ever explained this movie so well.
We're not in Kansas anymore! If you think about it, Mulholland Drive is a kind of re-telling of “The Wizard of Oz” (One of Lynch's top 10 favorite films. There's even a documentary called "Lynch/Oz" about the connections Lynch has made in his work to "The Wizard of Oz".) through the lens of “Sunset Blvd”, (or maybe it’s the other way around) all of it stuck in a blender (or tornado). Betty as Dorothy Gale arriving in Los Angeles (the land of Oz) after the Jitterbug contest (the scene famously cut out of “The Wizard of Oz”-notice the silhouette cut-outs of the dancers in the background, only to reveal another layer of dancers behind them), Rita’s amnesia and trying to remember who she is and where she was going = the scarecrow without a brain… director of the film in the film, Adam Kesher, and the corporate greed of the mob = tin man without a heart, dictating who he casts as the lead girl in his film… Club Silencio = revealing the man behind the curtain portraying the Great and Powerful Oz ("it's all a recording, all a tape... an illusion..." just like the image of the Great and Powerful Oz was an illusion). Not quite sure about the cowardly lion parallel yet, although Betty’s shaking at Club Silence resembled the cowardly lion’s shaking in front of the Wizard of Oz the first time they met before the lion ran away and dove out the window. The mysterious blue box as the Ruby slippers. Betty’s aunt could be seen as Glinda, the Good Witch of the North, and homeless person behind Winkie’s symbolizing the Wicked Witch of the West. Mulholland Drive itself as the yellow brick road. Multiple references to “Sunset Blvd” throughout the film, with “Sunset Blvd” being a film about the process of film making, just as Mulholland Drive serves as a metaphor for the film making process itself, with the bright lights and women posing for pictures at the premiere of the movie you just watched like returning from Oz--there's no place like home! Instead of "The End", we get "Silencio", Spanish for "Silence."
Loved your review. A totally brilliant film - I’ve seen it four or five times - you inspire me to see it again, and soon. You really touched on the essence of what Lynch is doing, how he’s unmasking the persona, lifting up the rock of the outer personality, and showing what’s wriggling underneath. Lynch approaches life as a mystery, not one that’s meant to be solved, but one that engages you in the process of discovery - finding the clues and following wherever they lead. Mysteries are both scary and fun, and endlessly fascinating. Your point about the characters being seen as archetypes of the collective unconscious, perhaps a single personality, is insightful - I think that’s what Lynch is doing, either consciously or intuitively. His films follow a link of influences in art - obviously, they have roots in film noir, which has roots in German expressionism, which has roots in the Symbolist era, which has roots in 19th and late 18th century gothic horror and gothic romance, and in all of these, as in Lynch’s films, the characters and situations can be seen as archetypal, best viewed with one’s dream-eyes. Damn, I wasn’t intending to write an essay (hope you don’t mind). One other aspect that I find really interesting (and fun) is the references and links he makes through his casting. Lynch often dredges up these old actors from Hollywood’s bygone era and uses them almost as ghosts of the past, of our collective dreams. In “Twin Peaks” he has Richard Beymer and Russ Tamblyn, both who were members of The Jets (rebel gang) in “West Side Story”, and there are also a number of references to “Laura” with Gene Tierney, some overt and some subtle. The way he invokes the 50’s is interesting - to me it’s a time of innocence and repression, where restrictive and defined social roles contain and try to suppress the erotic and dangerous unconscious - the unconscious, though, is kind of a “Rebel Without a Cause”, and it keeps trying to break through (ala Elvis) - eventually it does in the late 60’s. Lynch draws you into this web of associations throughout his work. In “Mullholland Drive”, you have that former queen of 40’s and 50’s movie musicals, Ann Miller, haunting the prototypical Hollywood apartment complex, but what really killed me was his reference in the Club Silencio scene. Before the incredible performance of Roy Orbison’s “Crying” ( “Blue Velvet” featured Orbison’s “In Dreams”), as part of the emcee’s cryptic introduction, Conti Condoli (legendary West Coast trumpeter from the 50’s) comes out and acts as a kind of a jazzy trumpet herald to what’s about to happen, a breakthrough into heightened emotion, the unconscious. This really brought to mind Condoli’s appearance in the Club Zodiac scene in “Bell, Book and Candle (1958), starring Jimmy Stewart and Kim Novak - it’s in that scene, through the music (Condoli playing trumpet, once again), that Stewart falls under Novak’s witch’s spell, and his former easy going, linear world is shattered - the siren-song (“Stormy Weather”) draws him into a world of heightened emotion, spiritual and erotic love. Interesting that Stewart and Novak appeared together in another film in 1958, one which had a similar, though, far deeper and tragic archetypal arch - “Vertigo”. Anyway, this is the kind of thing Lynch hooks up to - he’s a conduit to our collective unconscious - you do him justice. www.candoli.com/pics/pic23o.jpg Club Zodiac scene - "Bell, Book and Candle".
I do love Mulholland Drive but after reading that Lynch had originally intended to make it as a series (a la Twin Peaks) I can't help but see this 'framework' operating beneath the film's structure.. I think Lynch did an admirable job of turning what was intended to be a longer series into a (relatively) coherent film but I do feel it's a shame that his original vision wasn't realised.. I would have loved to see the backstories fleshed out more (ie Adam and his troubles with the shady film execs, the creepy dude in the red room, the guy in the diner recounting his dream about seeing that scary face, the cowboy, etc...) When I first watched it I was completely mesmerised; it really is one of the most mysterious films I've ever seen. But since learning about the original concept for Mulholland drive, and on subsequent viewings, it has lost some of that mystery and allure for me. Still a great film, but I prefer Lost Highway!
Much you say reflects my own impressions of this great film. I would say, though, that I've only seen the film once and if resonated very deeply with me. But this review is talking insightfully not only about this film but also about how art works: in ordinary life we don't have time to contemplate what we're experiencing; great art allows us to do this.
I find myself wondering if the thumbnail image for this review is intentionally Laura Palmer’s pose in the black lodge or if it’s just a very happy coincidence. Only my second video of yours but I love the way you discuss film. Well done.
I missed it when it was new but purchased it on bluray in 2010 and remember liking it a lot the first time seeing it - that being unusual since David Lynch's previous works (save for Twin Peaks) always left an ambiguous impression on me. Perhaps I was too young to be anything but confused by Eraserhead but I remember thinking that "Mulholland Drive" truly re-establishes Lynch as a great director of our time. It had been a case of "I know he's supposed to be this great director but..." up until that point. I agree with your review and since I'm quite keen on film scores I'd like to add my view of Angelo Badalementi's (a long time cooperation with Lynch) fine music which enhances the scenes. The main theme stands out in my ears. Another one of Lynch's qualities is that he picks other music that creates a sometimes comedic and sometimes bizarre athmosphere at the same time. "The Beast" being played while a hitman/thug visits his intended target's house only to be confronted by his jealous ex-girlfriend and her new lover (?) amused me and yet it fits well with the rest of the narrative of the movie. The whole soundtrack is very "David Lynch-ean" (if one can put it that way). Not sure if this was Naomi Watt's breakthrough role since I only recall spotting her in obscure films like "Tank Girl" prior to this. After being impressed by Mulholland Drive I scrambled for any David Lynch film I hadn't seen and saw "Dune". Needless to say I dismissed it as a mess and his worst work, but I also understand the cut that was released compromised his entire work and he personally distanced himself from it after its release. I see that he personally has directed the new Twin Peaks episodes slated for a 2017 release and that pleases me. Another great review Deepfocuslens. Had I not seen Mulholland Drive your review doesn't spoil too much and would make me keen to see it.
After having to buy tickets for "Titanic" to sneak into "Jackie Brown" when I was a kid... and had to buy a ticket for Adam Sandler's "Big Daddy" to sneak into "eyes wide shut" ... this was the first film I could actually purchase a ticket for myself and go in by myself... I was 18, saw it on opening day.... I was one of those kids growing up in Tijuana Mexico, went with my mom to work across the border in San Diego (something I would do regularly) she worked while I went to the movies.... and then go back home. I was 18, already a Lynch fan I was blown away and mesmerized by it... but tried to make sense of the plot on a very surface level... I still loved it, but now that I am 40. And recently re watched it.... it is definitely on my top 10. .... just brilliant.... It's silly, but I felt sad that Stanley Kubrick didn't get to see this... he loved eraserhead and film. And I think Stanley would have loooved it. ... just a silly teenage thought I had back then... maybe I still do :p
You may want to consider taking a look at three Carroll Baker films that can be related to MD and David Lynch in some ways. The most obvious is "Sylvia" (1965) but "Baby Doll" (1956) and "Something WIld" (1961) can also have some coincidental connections. They are interesting themes on their own. I should also mentioned Kubrick's "Lolita" (1962). You may like "Hud" (1963).
When I was a freshman in high school (2005), I had an English teacher who was a movie fanatic. I always remembered his room from most of the other teachers because he had his favorite movie posters hanging in his room. 8 1/2, Star Wars, Pulp Fiction, 2001 A Space Odyssey, and Mulholland Drive. I was a young kid and didn't know much about film, but loved it anyways.I only knew of three of those films (didn't hear of 8 1/2 or Mul. Drive) It wasn't until about four or five years ago that I really started digging into and becoming obsessed with film. I've seen so many films, and many have blown my mind from a story telling point, to acting, to just philosophical in nature. So that brings me up to a few days ago, and having seen hundreds of films, BBC published an article on what are the best films of the 21st Century (according to critics). I had seen a great many films on that list (still baffled that any of the Lord of the Rings films were absent), but seeing the #1 triggered my memories back to freshman year in English. Mulholland Drive. So I wrote Mulholland Drive down on the sticky note I have next to my computer to join the other films I have yet to see and want to just to further enhance my cinematic viewing history. That brings me to today, I had a few hours to kill so I thought, I'll just watch Mulholland Drive. I loved when experienced Twin Peaks a few years ago and I remember being entranced yet confused when I was too young to watch Dune, I know what I'm getting into with Lynch. It has been about eight hours of back to back viewings of Mulholland Drive with viewing discussions of the film on RU-vid. Just to put it simply, genius fantasy of the human psyche and where it can lead when faced with reality. It is such a unique piece of art, that it is a shame that not everyone can enjoy it. During the time of me amassing my movie experiences, there have been a few that have knocked me on my ass from a psychological stand point. 2001 A Space Odyssey, The Tree of Life (2011), and Momento. Mulholland Drive will most definitely join those films. As curious as I was about Mulholland Drive when I saw the poster hanging in the teacher's room, it's funny how pleased with myself that I kind of pushed that curiosity back until now. If I hadn't I might have ended up hating it when I saw it. Having let time pass, my mind mature, and experience more of life, along with being able to dig into the depth of what film can do and explore as a medium, I was able to truly understand and see what a masterful and full-bodied theme Mulholland Drive offered. Just wanted to share. Loved your brief analysis and review. You now have a new subscriber. I look forward to viewing your older material and reviews =) PS: I'm sure as such a huge fan of film that you are, you are following various RU-vid Channels that cover film. I highly recommend Alicia Malone's channel. She covers main movie releases, with reviews, but her calling are indie films. She does vlogs from film festivals and breifly reviews upcoming movies from those festivals. Here's a link. Again, great review and insight!! =) ru-vid.com/show-UCpk0yReV-B99zMHcct93-gQ
Actors are dangerous people because for them the line between what is a role and what is reality becomes blurred. There is an imaginary world within an imaginary world but ultimately actions have consequences in the real world. Maybe Camilla thought it would be a scene to die for to invite Diane over to the dinner party, and it was a powerful scene. And she wound up dead. What a fitting end for an actress. Actors used to be outcasts not allowed a church burial.
I only noticed recently rewatching it that Betty is visited by The Cowboy twice... Just wow! This movie is so genius because you're never given any rope or hints or anything. This movie is a jigsaw puzzle, you're left to piece everything together. It's 2½ hours long but feels like it could go on forever
This movie is about the movie industry. Every aspect personified in a character or metaphor of the Hollywood machine. It is abstract and almost impossible to explain verbally. But if you can just take it in, you will understand. The cowboy represents the wisdom from the past. Rita is the representation of the movie star that Betty aspires to be but she must give herself completely to the machine to become her dream. Throughout the movie she learns that she must sacrifice who she is to achieve her goal. When she finally does, she is rejected. Hollywood has chewed her up and spit her out. Her dreams crushed, her soul sold, Hollywood has chosen Camilla instead of her. She's just another actress who didn't make it. The hit man fails. Too much to explain every detail. Don't try to solve it. Watch and enjoy. It can't be explained in words. It is not just a dream. It's very much deeper than that.
Watched the movie a couple of months ago and now buying it on blu ray. I definitely agree with you more on the idea that the characters are more archetypes than actual characters.
I really find your videos interesting and would love to converse film with you. Just somethings I thought you should know The scene of the accident is Mulholland Drive and I think on the outside the film is this bizarre dark journey depicting the Hollywood dream as a nightmare but towards the end the film ties the loose ends in the narrative with the key and blue box of secrets, don’t you agree?
One of your best reviews for sure. Damn. One thing I noticed is that the blonde-brunette motif is probably the one constant through Eraserhead all the way through to Inland Empire (btw don't watch Inland Empire on LSD ; )
This is a GREAT review of the movie "Mulholland Drive". This lady knows what she's talking about. I find Lynch films to be deeply disturbing. For example, I've seen "Blue Velvet" at least four times but I hesitate to watch it again - until I feel more psychologically stable. And I LOVE "Blue Velvet". I only hope that I can find a review of "Death And The Maiden" by Roman Polanski by this reviewer. Folks, you should start watching the movie reviews available on youtube from deepfocuslense. That's all i'm sayin'...
Another film that has some resemblance to "Mulholland Drive" is Robert Altman's 1972 film "Images." There are shuffling of people's names, just like in MD. And there are scenes with dream logic involving body doubles, imaginations, and desires. Altman made another dream-like film called "3 Women" but it isn't nearly as memorable.
Haha, just seen 3 Women (my first Altman) yesterday and thought "wow, this is like a missing link between Persona and Mulholland Dr." Loved the film and both lead actresses. I will check his other works.
I enjoyed hearing your reactions and insights on this fascinating piece of cinema. Of course I'll never forget my first viewing of it; no other movie affected me this way. I was, at times, mesmerized, puzzled and curious, saddened, laughing at comedy, practically jumping from fright, and during the nightclub sequence I found myself ... well, llorando. Experiencing this film was amazing. This movie brought me to tears one moment and had me giggling the next. The entire time, I was riveted and entertained. I'm a fan of movies about the movie biz, particularly during the golden age of movies. "Sunset Boulevard" is in my top ten. "Mulholland Drive" is somehow both a love letter to Los Angeles and also a poison pen letter to Hollywood. It is so rich, and so multi-faceted (like the diamond you described). Naomi Watts is a revelation in the dual role. For the Diane character, she changes her posture, demeanor, voice, body language-- so different from Betty. Betty seemed very like a Nancy Drew figure to me at times: wholesome girl, trying to find clues. Many admirers of this movie have said that they wish they could erase their memory of it so they could experience MD for the first time again. I can relate. I actually wish in hindsight that I had video recorded my facial reactions to it during my initial viewing. It would be fun to watch that now and then while showing the movie on my TV at the same time. There are so many scenes that stand out-- the walk up the path when Diane begins to look hopeful as she holds Camilla's hand, Betty arriving in LA and marveling at it (Lynch wasn't getting the right emotion from her, so he said "This should be like the first time you ever tried ice cream"), the Cowboy and his hypnotic persona, that intense audition, the diner scene when we are shown the filthy vagrant, the old couple in the cab as they reveal their sinister grins (that was the moment that I knew this would be another great Lynch experience) .... so many wondrous strange things. And I can't leave out the extraordinary musical score by Mr. Badalamenti. It's just sublime, packed with emotion, and naturally compliments a story that's so full of darkness and light, beauty and menace. I was surprised to learn that, originally, a good chunk of MD was supposed to be a pilot film for a network television show, but it was not accepted. Some time passed and then David Lynch was given the opportunity to make it a finished theatrical film. I often muse about what that TV show would have been like. It's those famous words again that sometimes haunt us: what might have been. But if we couldn't have the network series, at least we have been given this work of art. I try not to analyze MD too much, to dissect it and explain it. I prefer just letting it wash over me, let it work its magical spell on my eyes and ears. Thank you. It was so nice hearing feedback from a mutual fan of a fantastic movie. And my apologies for going on at length.
man, I saw this when I really, really was thinking of Directing... I watched it back to back... I mean I watched it, got a glass of water and watched it again. I never seen anything like it, well until this year, Neon Demon actually reminded me of alot... I watched it back to back and theres amazing scenes but I couldnt figure what he did and why it was so powerful... i still dont know, no idea... its up there, landmark
This film epitomizes the reality that certain films need to be seen more than once. I've only seen it twice, but it was definitely better the second time around. I personally don't think Lynch will ever top "The Elephant Man," but the ambition and imagination of "Mulholland Drive" is impossible to ignore.
Well done thoughtfull review! Mullholland Drive is a fascinating, highly absorbing, masterful mystery thriller art film directed and written by David Lynch.
I **wish** I could view Mulholland Drive multiple times, but the hobo behind the diner, and the body on the bed still haunts my nightmares from the first viewing. I think I'll give it another 5 years to marinade before diving in again.
I first saw this movie when it came out i was 18 and we went with my philosophy teacher. During the 1 hour trip in bus back to home, the whole class was blown by the movie and we spoke of it during the whole hour and later and the day after. I became a real cinephile after this.
Great review.. Remembering that Lynch is a long time TMer, I'm reminded of a famous story about the sage Ashtavakra and King Janaka. The king has a dream that his kingdom is attacked and he has to flee alone. He is penniless and starving, he sees that there's an ashram feeding the poor and he joins it, but just when its his turn to be fed there's nothing much left in the pot. The monk takes pity on him and adds a little water to the pot, makes a slurry and gives it to him.. At that moment a crow swoops down and takes his food.. Then the king suddenly awakens and realizes he's in the palace and it was just a dream, but it seemed extremely real . Perhaps even more than his waking state.. He then asks the wisest people in the land a question.. who is the real me, the one in the dream or the waking state. No one answers this to Janaka's satisfaction until the sage Ashtavakra hears of it and comes to the palace..he tells the king that the only one who is real is the one who is in the dream and the waking state.. not the characters in the states, but the witnessing consciousness. I believe Lynch is playing with this idea quite a lot actually. You know? Who's the real one. And it just poses the question without directly answering it.
@@williamscattin588 TM is Transcendental Meditation which David Lynch has been practicing since the early 70s. He's such a devoted follower of the practice that he started a charitable foundation whose purpose us to introduce TM to as many people around the world as possible, with an emphasis on children and teens. He believes the practice of TM csn transform our world for the better. It's the David Lynch Foundation.
Amazing film. The club Silencio scene is one of the greatest of all time. What I love the most about it is how deceptive it is. It is a wolf disguised as a sheep. Incredible achievement. Inland Empire is also another Lynch Masterpiece. By the way, I've never seen twin peaks, and seeing how the show is coming back, I want to go back and watch it. Would you recommend me doing so? I've seen many of Lynch's other movies, so I was wondering how it compares to the movies. Thanks in advance!!!!
Yes! Twin Peaks is fantastic. However, it starts to get a bit tedious as it goes on. I've only seen the first season. But because the show is coming back I'm planning on watching the entire show at some point. When it's good, especially at the beginning, it's one of the great television shows. I can definitely see the Mulholland Drive influence. Get to the end of episode 3 and you'll see what I mean.
+deepfocuslens sounds great. Yeah I'm planning on watching it too. would be great to exchange our thoughts once we're both done watching it 👍👍👍👍👍 and please keep the great videos coming. Been a big fan for a couple of years now
Mustafa Mohammed I also loved the Club Silencio seen. We are told right from the get-go that everything is an illusion. And yet when the woman sings Llorando, we believe her because of how convincing and heartfelt the performance is. Then everything comes crashing down and we accept reality. We are tricked into believing this illusion even though we are told from the beginning that it isn’t real. It’s really amazing
David Lynch begins a documentary chronicling his world speaking tour on "creativity, meditation and world peace" by citing a quote from Maharishi: "Those who don't know, they don't know...those who know, they enjoy!" Lynch was comparing the sweetness of a donut to the sweetness of meditation. This is a simple example of how he uses symbols and metaphor to to make connections that most of us would likely not initially see. The same is true for his highly symbolic film Mulholland Drive. It can help to learn about an artist's life and interests to get an idea of what it is they may want to express in their artistry. It can be challenging with Lynch but there is enlightenment at the end of the tunnel.
It reminded me a lot of an art film like Blowup pasted onto the template of Vertigo. I don’t really buy a lot of the analysis of the film I’ve seen, as I feel like most people are just trying to fit it into a plot structure when it’s more like an experiential art film lined with some coherent plot lines that don’t really go anywhere satisfying - in other words, kind of like a dream. It’s more of a visualization of abstractions/ideas/concepts. And like a dream, the coherency comes apart toward the end, and the world falls apart. At least, that’s how I see it. To put it another way, I don’t think there are any satisfying answers in trying to figure out character motivations or connecting it all together in one grand plot with meaning. In other words, I fall in the “the whole thing is a dream” camp.
what a perfect movie i watched it yesterday the first time. This blue box fucked me up i didnt understand the whole second part of the movie, but now i read a lot about it and how Lynch makes his movies and i am shocked how awesome this is. Everything is there because David Lynch wanted it
Could you recommend other movies that you think are on par with this? I can’t stop thinking about this film, and it has me wanting more Lynch-type films. Thanks!
I didn't understand a lot of "Lynchisms" when I watched this for the first time, and the scene where Naomi Watts is saying goodbye to the old lady she befriends totally caught me off guard. That's when I realized I was watching something very different from what I initially thought I was watching.
One of my favorites as well. This movie is scary (one of the best jump scares ever), it's really sad and absolutely brilliant. I kinda fell in love with Naomi Watts, she was so good.
Love this film. One of my all time favorite films, certainly my favorite Lynch film. Heartbreaking film yes, yet it really has had a powerful effect on me, and others. Thank you for the movie review/analysis, great to hear different perspectives on this film and others as well.
I believe what's intriguing about Lynch's films is that they're very subjective, no-one has the same response to his films. And their quality is dependent on your preferences. I don't believe that films like Inland Empire or Eraserhead would be anything special if they didn't correspond with my preferences. What do you think?
BTW-I’ve deduced that the color green means death, cigarettes allude to the “burn-out” of struggling to achieve a goal, pink means innocence - but not lasting innocence; it’s the kind of innocence that’s about to be victimized or deflowered. Thoughts?
Lynch once admitted "The Wizard of Oz" affected him on the deeper level. I am wondering what do you think of that old couple? As you may know, there's a theory saying they are Diane's abusive grandparents. This moment, when they smile in a very disturbing wicked manner, just can't get out of my head:/
To me the old couple are the mythological Furies, manifestations of Diane's blood guilt. They know that they will devour Diane in the end, which is why they are grinning (look at ancient images of the Furies). They then pursue Diane at the end and force her to commit suicide.
Easily one of my favourite David Lynch movies. And interesting play on the story within a story theme, but with a very artful way of drawing the two timelines together. It's a stunningly shot movie, where the first half is filled with stylish film noir and high energy. But the second half is very dark, grim, and threatening the world has turned. What is interesting is that the lesbian relationship in the first half is innocent and joyful, until the timeline changes, where the relationship turns dark and manipulative. The performances are beautifully presented and Naomi Watts' character is endearing.
