Mulholland Drive - theories please.

Real is a strange word to use there.

there's no suggestion that they exist at all

they obviously exist because they're in a paper bag & then get all huge

"mulholland drive or avatar

― b'hurt's tauntin' (darraghmac), Wednesday, 30 January 2013 18:21 (four years ago) Bookmark Flag Post Permalink"

In OPO, so what was the worst film you ever saw? thread.

Betty is the viewer as actor, Diane is the actor as actor. I'm the guy by the dumpster

idg why anyone would assume the grandparent relationship, it doesnt match up w anything they do or say onscreen. Unless one just assumes they're grandparents because of the age difference beteeen them and Diane/Betty. The other theories in Ross's link make more sense imo.

I've come around on lynch btw

I'm sure he's relieved

I thought they just met on the plane because she seems like one of those excruciatingly naive and eager ppl who wd just make friends with other nice ppl on a plane for no reason?

Also standard lynch trope of nicey-nicey white America feeling horribly creepy and staged

I'm coming over to this grandparents thing.

They didn't meet on the plane because the plane and the old people we see aren't real, they are a fever-dream. So the old people are likely to be people Diane thinks of often.

Now I have that suggested to me it makes little sense that they are just "old people" because they are likely to be people she knows well in her real past.

But everyone's roles in her fever dream are mixed up - so why would her actual grandparents be sn exception

And why would she be flying on a plane w her grandparents and then ditch them to go stay at her aunt's.

I don't think they're an exception, I just think that people turn up in your dreams that you're close to but not in the relationship you have them in in your daily life.

While her grandparents are not 100% confirmed, it's a possibility - and comes up in many interpretations of the movie. Another one here: http://www.imdb.com/title/tt0166924/faq

It's Lynch - I think you can read it either way, his movies are good for that.

ok in the first 2h of the movie they're she met on the plane
in ✌️️"real life"✌️️ yeah idk they're prob her grandparents, w/e

I never bought the dream/real life distinction where this movie is concerned. I think it's about the interaction of Hollywood archetypes, powers & players (first 2/3) and the movie that eventually results (last 1/3).

i think this movie was about Oliver North

you do not

I never bought the dream/real life distinction where this movie is concerned.

there's literally a part where a character says "time to wake up" and everything is not dreamy anymore

yeah, but see above

not dreamy, still boring

i shouldn't say i reject the fantasy/dream vs. ugly reality interpretation. that story's obviously present & central. i don't think it's sufficient, and it bothers me that it's treated as the film's one and only meaning.

It kinda bothers me that it fits the film so well, though. I've come to prefer Inland Empire, which is much more open to multiple satisfying interpretations, imo.

still the most coherent thing I've read about tit: http://www.salon.com/2001/10/24/mulholland_drive_analysis/

obv it doesn't matter if The Parts Don't Fit Together considering the movie comprises connective material fleshing out a scrapped TV pilot.

mulholland drive is good, fuck the haters

Lost Highway is finally available to rent on Amazon instant video. I've been wanting to watch that movie for years, but it's never been available on streaming.

prepare to be disappointed

I really like it, but it has its flaws like any Lynch film.

It's near the bottom of the pile for me, just above Wild At Heart.

OTM Οὖτις, Lost Highway is the Lynch film that is guilty of everything idiots think all Lynch films are guilty of.

Lost Highway does a surprisingly good job of capturing the mood and tone of the 90s, for a work from a director that makes films that seem detached from any specific time period

went on a first date to lost highway when it was out in theaters, biiiiiiiiiiiig mistake

LH doesn't surpass its promising opening credits or Bill Pullman playing furious sax in that club. The rest is self-parody, down to Robert Blake in Dean Stockwell makeup.

stick with meshes of the afternoon, only 18 mins long -- it didn't need remaking

I can't argue either of those points. I, too, thought "wow, fake Dean Stockwell!" the last time I saw it. xp

Watched the remaster on the big screen last night for the first time since release and the film really benefits from it. Hard to see what the new print actually adds - there's a far greater distinction between the film quality in daylight/studio and low light (particularly the car driving around), but some scenes look like they were broadcast on TV, never mind filmed for it.

I hadn't paid attention before to Betty explicitly revealing the plot three times in the first phase. I've forgotten the third one but when she enters Ruth's apartment for the first time she says to Coco "It's like some kind of dream" and then when she and Rita go to phone the police about the car accident she says "We can do it. We can pretend we're other people."

Diane sees The Cowboy two times. According to his conversation with Adam, this potentially means she's "done bad".

ya not to mention her crawling into bed and falling asleep being one of the first shots of the movie

seeing this in a theater made me realize how incredible the sound editing is, so much skillful silence

These are pretty much the exact arguments re: the first 30 minutes of FWWM being Cooper's 'dream' (scare quotes because I don't think Lynch's use of dreams is straightforward enough to refer to instances like these as 'just a dream').

This is far and a way my favorite Lynch film. It's his funniest, most suspenseful, most affectionate, most purely entertaining movie—every scene is just a joy, even the ones that barely connect to the other ones. I remember wanting to clap when I first saw it in theaters and the cowboy instructed us to count how many times we saw him. So fun.

Very much enjoying the new TP season because it feels structurally similar. Just a succession of disconnected scenes that are so good on their own I don't even care how they all fit together.

Saw it in a theater a couple weeks ago and I was blown away. Last saw it in 2007 right before Inland Empire. So much better than I remember.

I don't want to jinx it somehow, but yeah, new TP is closer to Mulholland Drive as a reference point than nearly anything else

Very much enjoying the new TP season because it feels structurally similar. Just a succession of disconnected scenes that are so good on their own I don't even care how they all fit together.

yeah, and since the disconnected scenes end up sorta making sense in retrospect, it rewards close and repeated viewings - i think that'll be the case with the new TP as well

glad i rewatched this right before the new twin peaks, it prepared me for the mood way more than fwwm did. incredible film incidentally

i watched inland empire again a few weeks ago and had the same feeling. MD+IE+Eraserhead+his early short films seem like the biggest influences on new twin peaks. oh yeah, and old twin peaks too obv :)

Yeah I think that's part of why Mulholland Drive has aged so well. The more you watch it the more it makes sense, but it'll never make complete sense. Even when you think you've cracked its logic, it still seems kinda scrambled. There are still pieces that don't fit. And there's something addictive about that sense that order is always just out of reach.

The original Twin Peaks had that, too, a fairly linear structure and interpretation with some untidy ends to keep you guessing, but Mulholland Drive and the new Twin Peaks are packed so much denser. There's a lot more to chew on.

Lost Highway and IE made it too easy to dismiss certain scenes as "oh he's just being weird," but Mulholland Drive and the new Twin Peaks deny you that shortcut.

IE is too long and my memory too short to get into into specific scenes, but i think a lot of the parts that people dismiss as lynch being a weirdo could conceivably have something to do with the plot. i read a really, really long analysis/theory of IE once (published in the classic 1998 internet style) that covered everything in exhaustive detail.

i need to watch lost highway again soon, it's been too long!

but yeah, i get your point about IE making it really easy to make those dismissals, which is too bad. lynch almost seems to be begging people to be confused at certain parts of it, whereas MD kind of dangles the mystery just out of reach at all times.

I haven't seen Lost Highway recently enough to defend it, but Inland Empire is less oblique than Mulholland Drive imo.

Wild at Heart is the one I'd call out for being intentionally obtuse and weird for its own sake. I already kinda felt that way but the deleted and extended scenes in the Lime Green set (which made clear the extent to which Lynch intentionally edited a lot of clarity out of the film) cemented that notion.