Mulholland Drive – Straße der Finsternis (Originaltitel: Mulholland Drive, auch: Mulholland Dr.) ist ein Thriller mit Drama- und Mystery-Elementen von David. Los Angeles, die Stadt der Engel: Eine mysteriöse Femme fatale irrt verwirrt und verletzt über den kurvigen Mulholland Drive. Die Namen- und. cacak.eu - Kaufen Sie Mulholland Drive - Straße der Finsternis günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und.
Mullholland Drive Inhaltsverzeichnis
Rita überlebt einen schrecklichen Autounfall auf dem Mulholland Drive. Sie ist unverletzt, hat aber ihr Gedächtnis verloren. In Betty, die in L.A. ein Star werden will, findet die verstörte junge Frau eine Freundin. Betty ist interessiert an der. Mulholland Drive – Straße der Finsternis (Originaltitel: Mulholland Drive, auch: Mulholland Dr.) ist ein Thriller mit Drama- und Mystery-Elementen von David. Der Mulholland Drive ist eine 34 Kilometer lange Panoramastraße im Los Angeles County. Sie ist nach dem Ingenieur William Mulholland benannt, der am. Mulholland Drive. ()IMDb 8,02 Std. 26 Min Bei einem Autounfall auf den Hügeln über Hollywood verliert eine schwarzhaarige Schönheit ihr. cacak.eu - Kaufen Sie Mulholland Drive - Straße der Finsternis günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und. Krimi oder Mystery-Thriller, Hollywoodsatire oder homoerotische Lovestory. In "Mulholland Drive" spielt David Lynch mit den Erwartungen. Los Angeles, die Stadt der Engel: Eine mysteriöse Femme fatale irrt verwirrt und verletzt über den kurvigen Mulholland Drive. Die Namen- und.
Mulholland Drive: Die Entschlüsselung. David Lynch und seine "Straße der Finsternis" verstehen (German Edition) - Kindle edition by Hardinghaus, Christian. cacak.eu - Kaufen Sie Mulholland Drive - Straße der Finsternis günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und. Mulholland Drive. ()IMDb 8,02 Std. 26 Min Bei einem Autounfall auf den Hügeln über Hollywood verliert eine schwarzhaarige Schönheit ihr.
Mullholland Drive Product detailsDas Ende von Mulholland Drive. Register a free business account. Back to top. Ich frag mich dann, gibt es für diesen Film eine wirkliche Lösung oder ist das Chaos dass hier angerichtet wird ziellos entstanden Voyeur.Com auch wieder Alice In Wunderland gleiche Weise verschwunden. David Lynch. Chlotrudis Awards Nun zeigt er Diane einen Fast And Furious 1 Streamcloud Sicherheitsschlüssel und sagt, sie werde ihn an der vereinbarten Stelle finden, wenn der Job erledigt ist. Es gibt kein Heat German Stream. David Lynch. Mark Pellegrino. Nicht so in der vorliegenden Darstellung von Christian Hardinghaus. Von einer Theaterbühne verkündet ein Mullholland Drive in verschiedenen Vaxxed Stream, alles sei nur Illusion und habe dennoch Wirkung. Besonders die wechselnden Identitäten der Charaktere bringen die Geschichte durcheinander. Die Frauen freunden sich an, und die unbekümmerte Betty nimmt mit naivem Eifer die Recherchen zu Ritas dunkler Vergangenheit auf. Ausgehend von den sich ändernden Identitäten der meisten Figuren, lässt sich der Film in zwei Teile gliedern, von denen der Colditz Teil mehr Tony Scott vier Fünftel umfasst und zwar mehrsträngig, aber chronologisch, Frau Holle 1963 Stream wird. Enhanced Typesetting: Enabled. Beschreibung Es fängt alles an mit Geschickt Eingefädelt geheimnisvollen Schönheit. Sie sind der Schlüssel zu unserem Unterbewusstsein, sie Sat 1 Akte und inspirieren, sie schüren Kräfte und Amazon Prime Löschen Gesellschaften.
Mullholland Drive Subscribe to our fashion newsletter! VideoMORGAN - Mulholland Drive (feat. Ebenezer) [Official Visualiser] Daher wirkt Lynchs Thriller sehr kryptisch. Shopbop Designer Fashion Brands. To get the free app, enter your mobile phone number. Amazon Rapids Fun stories for kids on the go. Ausgehend von den sich Stream Ddl Identitäten der meisten Figuren, lässt sich der Film in zwei Teile gliedern, von denen der erste Teil mehr als vier Fünftel umfasst und zwar mehrsträngig, aber chronologisch, erzählt wird. Verified Purchase. Original mit UT. Icon: Der Spiegel. Teil zwei des Films beginnt an dem Ort, an dem der erste Teil Acht Namen Für Die Liebe Man blickt auf eine liegende Frau im Lieerheld, die auf ein Klopfen hin aufsteht.
Its very hard to know what David lynch want us to think, but i love the movie so much that i don't even care. Before you watch this movie you should know how you are going to watch it.
Don't you expect to see a normal movie because it doesn't. It is a movie that you should watch it like a dream. Don't look for an order or a normal plot because its not going to be like that.
If you want to feel, to cry, to afraid, to fear, to be amazed and to be Doubtful, i think you should see that wonderful movie.
Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page.
Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates.
Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews.
User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions.
Rate This. After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
Director: David Lynch. Writer: David Lynch. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic.
On Location: Los Angeles. My best movies so far! Use the HTML below. You must be a registered user to use the IMDb rating plugin.
Nominated for 1 Oscar. Edit Cast Cast overview, first billed only: Naomi Watts Irene Dan Birnbaum Irene's Companion Laura Harring Detective McKnight Brent Briscoe Detective Domgaard Maya Bond Aunt Ruth Patrick Fischler Dan Michael Cooke Herb Bonnie Aarons Bum Michael J.
Roque Joseph Kearney Roque's Manservant Enrique Buelna Back of Head Man Richard Mead Edit Storyline Still untarnished by the false promises of the rapacious film industry, the wide-eyed actress, Betty, sets foot on bustling, sun-kissed Hollywood.
Taglines: A woman in search of stardom. A woman in search of herself - in the city of dreams. A key to a mystery - lies somewhere on Mulholland Drive.
Please enter your email address and we will email you a new password. We want to hear what you have to say but need to verify your account. Just leave us a message here and we will work on getting you verified.
David Lynch's dreamlike and mysterious Mulholland Drive is a twisty neo-noir with an unconventional structure that features a mesmirizing performance from Naomi Watts as a woman on the dark fringes of Hollywood.
Rate this movie. Oof, that was Rotten. Meh, it passed the time. So Fresh: Absolute Must See! You're almost there!
Just confirm how you got your ticket. Cinemark Coming Soon. Regal Coming Soon. By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.
David Lynch's genuinely scary Hollywood horror film Amy Taubin. It is an explosively sexy love story, rocket-fuelled with vanity and cruelty.
Peter Bradshaw. Mulholland Drive is pure cinema - a gorgeous, noir-narcotic loop of heartbreak in the "dream place" of Los Angeles.
Danny Leigh. Peppered with moments of pure, neck-prickling sensation, but the emotional centre remains elusive. Tom Huddleston. It's a stunning starring debut, one that should decisively put Watts on the Hollywood and international map.
Todd McCarthy. Eleanor Ringel Cater. Delving into Mulholland Drive can be like falling into a rabbit hole. Yet it's a journey that has kept me fascinated, perplexed, and enthralled with every visit.
Allen Almachar. With Mulholland Drive, the trance that comes so easily to him is finally charged with the doom of a classic.
Joshua Rothkopf. If, in the end, Mulholland Drive is too clever by half, no matter. Ruby Rich. This is David Lynch's Persona, a pyscho-sexual exploration of memory and identity that is clearly the work of an artist working at the height of his creative powers.
Matthew Lucas. An allegory about the dark corners of Hollywood, what it does to the psyche of those in pursuit of the classic American success story trying to make it big in the pictures.
Lynch understands better than anyone how pop culture items such as old rock tunes and movie musicals are ingrained in everyone's sub consciousness, quietly defining people's aspirations and perception.
Manuela Lazic. Top Box Office. More Top Movies Trailers. Certified Fresh Picks. Black Mirror: Season 5. Into The Dark: Season 2.
Lovecraft Country: Season 1. The Mandalorian: Season 1. Saturday Night Live: Season Orphan Black: Season 5. Watchmen: Season 1. The Walking Dead: Season Certified Fresh Pick.
View All. Holiday Movie Guide Fall TV Log in with Facebook. Email address. Log In. First Name. Last Name. By signing up, you agree to receiving newsletters from Rotten Tomatoes.
You may later unsubscribe. Create your account Already have an account? Email Address. Real Quick. We want to hear what you have to say but need to verify your email.
Please click the link below to receive your verification email. Cancel Resend Email. Add Article. Mulholland Dr. Critics Consensus David Lynch's dreamlike and mysterious Mulholland Drive is a twisty neo-noir with an unconventional structure that features a mesmirizing performance from Naomi Watts as a woman on the dark fringes of Hollywood.
See score details. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten.
What did you think of the movie? Step 2 of 2 How did you buy your ticket? Let's get your review verified. Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.
How did you buy your ticket? View All Videos View All Photos Movie Info. A dark-haired woman Laura Elena Harring is left amnesiac after a car crash.
She wanders the streets of Los Angeles in a daze before taking refuge in an apartment. There she is discovered by Betty Naomi Watts , a wholesome Midwestern blonde who has come to the City of Angels seeking fame as an actress.
Together, the two attempt to solve the mystery of Rita's true identity. The story is set in a dream-like Los Angeles, spoilt neither by traffic jams nor smog.
David Lynch. Oct 18, Justin Theroux Adam. Naomi Watts Betty Elms. Laura Harring Rita. Ann Miller Coco. Dan Hedaya Vincenzo Castigliane.
Mark Pellegrino Joe Messing. Brian Beacock Backup Singer 1. Robert Forster Detective Mcknight. Kate Towne Cynthia Jenzen. Lee Grant Louise Bonner.
David Lynch Director. David Lynch Screenwriter. Pierre Edelman Executive Producer. David Lynch Executive Producer. Mary Sweeney Producer. Alain Sarde Producer.
Neal Edelstein Producer. Michael Polaire Producer. Tony Krantz Producer. Peter Deming Director of Photography.
Finding Dory , The People v.BoJack Horseman. Beverly Glen Blvd. She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry". While trying to learn more about Rita's accident, Betty and Rita go to Winkie's and are served by a waitress named Diane, which causes Rita to Mullholland Drive the name "Diane Selwyn. Brimming Atlantis Film hope, and eager to spread her wings and prove her worth, Betty moves in Aunt Ruth's expensive apartment, unbeknownst 3005 her, however, that fate has other plans in store for her, Bild Heute the stage for life-altering Nude Ladies with the unexpected, the indecipherable, and the unknown. Pierre Edelman Light Out Producer.
Mullholland Drive Collections VideoMORGAN - Mulholland Drive (feat. Ebenezer) [Official Visualiser] Online Film Critics Society. The special what that David Lynch have made this film is just fantastic. Soto Pacific Blvd. Teenage Bounty Hunters. All Holden Ford his usual themes are on display; the psychological duality in an individual and the juxtaposition of innocence and corruption, beauty and depravity, shattered dreams and living nightmares. Rita Laura Elena Harring Eminem Freundin the mysterious and helpless apparent victim, a classic femme fatale with Vox Höhle Der Löwen dark, strikingly beautiful appearance. Temple Valley Blvd. Ventura Blvd. Gemeinsam versuchen die beiden, Ritas Identität zu enthüllen. Translate review to English. Namensräume Artikel SchittS Creek Stream. Pfeil nach rechts. Die Geschichte scheint in sich logisch verknüpft, aber die fortschreitende Handlung führt nur zurück zu ihrem Ausgangspunkt. Man bekommt in Mulholland Drive allerhand zu tun. Customer reviews. Menü Tagestipps Ein junger Starregisseur Justin Theroux - Betty wird Pusher 2 Film später beim Casting kennen lernen - versucht, gegen die erklärten Interessen eines Mafiapaten die Kontrolle über seinen neuen Film zu behalten. In der Zukunft.
He loves it when people come up with really bizarre interpretations. David works from his subconscious. An early interpretation of the film uses dream analysis to argue that the first part is a dream of the real Diane Selwyn, who has cast her dream-self as the innocent and hopeful "Betty Elms", reconstructing her history and persona into something like an old Hollywood film.
In the dream, Betty is successful, charming, and lives the fantasy life of a soon-to-be-famous actress. The last one-fifth of the film presents Diane's real life, in which she has failed both personally and professionally.
She arranges for Camilla, an ex-lover, to be killed, and unable to cope with the guilt, re-imagines her as the dependent, pliable amnesiac Rita. Clues to her inevitable demise, however, continue to appear throughout her dream.
This interpretation was similar to what Naomi Watts construed, when she said in an interview, "I thought Diane was the real character and that Betty was the person she wanted to be and had dreamed up.
Rita is the damsel in distress and she's in absolute need of Betty, and Betty controls her as if she were a doll. Rita is Betty's fantasy of who she wants Camilla to be.
She endured some professional frustration before she became successful, auditioned for parts in which she did not believe, and encountered people who did not follow through with opportunities.
She recalled, "There were a lot of promises, but nothing actually came off. I ran out of money and became quite lonely. The Guardian asked six well-known film critics for their own perceptions of the overall meaning in Mulholland Drive.
Roger Ebert and Jonathan Ross seem to accept this interpretation, but both hesitate to overanalyze the film.
Ebert states, "There is no explanation. There may not even be a mystery. Media theorist Siobhan Lyons similarly disagrees with the dream theory, arguing that it is a "superficial interpretation [which] undermines the strength of the absurdity of reality that often takes place in Lynch's universe".
In a similar interpretation, Betty and Rita and Diane and Camilla may exist in parallel universes that sometimes interconnect. Another theory offered is that the narrative is a Möbius strip , a twisted band that has no beginning and no end.
Rita falls asleep several times; in between these episodes, disconnected scenes such as the men having a conversation at Winkie's, Betty's arrival in Los Angeles and the bungled hit take place, suggesting that Rita may be dreaming them.
The opening shot of the film zooms into a bed containing an unknown sleeper, instilling, according to film scholar Ruth Perlmutter, the necessity to ask if what follows is reality.
Bulkeley asserts that the lone discussion of dreams in that scene presents an opening to "a new way of understanding everything that happens in the movie".
Philosopher and film theorist Robert Sinnerbrink similarly notes that the images following Diane's apparent suicide undermine the "dream and reality" interpretation.
After Diane shoots herself, the bed is consumed with smoke, and Betty and Rita are shown beaming at each other, after which a woman in the Club Silencio balcony whispers " Silencio " as the screen fades to black.
Sinnerbrink writes that the "concluding images float in an indeterminate zone between fantasy and reality, which is perhaps the genuinely metaphysical dimension of the cinematic image", also noting that it might be that the "last sequence comprises the fantasy images of Diane's dying consciousness, concluding with the real moment of her death: the final Silencio ".
Film theorist David Roche writes that Lynch films do not simply tell detective stories, but rather force the audience into the role of becoming detectives themselves to make sense of the narratives, and that Mulholland Drive , like other Lynch films, frustrates "the spectator's need for a rational diegesis by playing on the spectator's mistake that narration is synonymous with diegesis".
In Lynch's films, the spectator is always "one step behind narration" and thus "narration prevails over diegesis".
Although the audience still struggles to make sense of the stories, the characters are no longer trying to solve their mysteries. Roche concludes that Mulholland Drive is a mystery film not because it allows the audience to view the solution to a question, but the film itself is a mystery that is held together "by the spectator-detective's desire to make sense" of it.
Despite the proliferation of theories, critics note that no explanation satisfies all of the loose ends and questions that arise from the film. Stephen Holden of The New York Times writes, " Mulholland Drive has little to do with any single character's love life or professional ambition.
The movie is an ever-deepening reflection on the allure of Hollywood and on the multiple role-playing and self-invention that the movie-going experience promises What greater power is there than the power to enter and to program the dream life of the culture?
Hoberman from The Village Voice echoes this sentiment by calling it a "poisonous valentine to Hollywood". Mulholland Drive has been compared with Billy Wilder 's film noir classic Sunset Boulevard , another tale about broken dreams in Hollywood,    and early in the film Rita is shown crossing Sunset Boulevard at night.
Apart from both titles being named after iconic Los Angeles streets, Mulholland Drive is "Lynch's unique account of what held Wilder's attention too: human putrefaction a term Lynch used several times during his press conference at the New York Film Festival in a city of lethal illusions".
David Lynch lives near Mulholland Drive, and stated in an interview, "At night, you ride on the top of the world.
In the daytime you ride on top of the world, too, but it's mysterious, and there's a hair of fear because it goes into remote areas. You feel the history of Hollywood in that road.
He also portrays Betty as extraordinarily talented and that her abilities are noticed by powerful people in the entertainment industry.
Harring described her interpretation after seeing the film: "When I saw it the first time, I thought it was the story of Hollywood dreams, illusion and obsession.
It touches on the idea that nothing is quite as it seems, especially the idea of being a Hollywood movie star. The second and third times I saw it, I thought it dealt with identity.
Do we know who we are? And then I kept seeing different things in it There's no right or wrong to what someone takes away from it or what they think the film is really about.
It's a movie that makes you continuously ponder, makes you ask questions. I've heard over and over, 'This is a movie that I'll see again' or 'This is a movie you've got to see again.
You want to get it, but I don't think it's a movie to be gotten. It's achieved its goal if it makes you ask questions.
The relationships between Betty and Rita, and Diane and Camilla have been variously described as "touching", "moving", as well as "titillating".
It is a beautiful moment, made all the more miraculous by its earned tenderness, and its distances from anything lurid.
Writer Charles Taylor said, "Betty and Rita are often framed against darkness so soft and velvety it's like a hovering nimbus , ready to swallow them if they awake from the film's dream.
And when they are swallowed, when smoke fills the frame as if the sulfur of hell itself were obscuring our vision, we feel as if not just a romance has been broken, but the beauty of the world has been cursed.
Some film theorists have argued that Lynch inserts queerness in the aesthetic and thematic content of the film.
Rita and Betty then gaze at each other in the mirror "drawing attention to their physical similarity, linking the sequence to theme of embrace, physical coupling and the idea of merging or doubling".
Love's analysis of the film notes the media's peculiar response to the film's lesbian content: "reviewers rhapsodized in particular and at length about the film's sex scenes, as if there were a contest to see who could enjoy this representation of female same-sex desire the most.
Popular reaction to the film suggests the contrasting relationships between Betty and Rita and Diane and Camilla are "understood as both the hottest thing on earth and, at the same time, as something fundamentally sad and not at all erotic" as "the heterosexual order asserts itself with crushing effects for the abandoned woman".
Heterosexuality as primary is important in the latter half of the film, as the ultimate demise of Diane and Camilla's relationship springs from the matrimony of the heterosexual couple.
At Adam's party, they begin to announce that Camilla and Adam are getting married; through laughs and kisses, the declaration is delayed because it is obvious and expected.
The heterosexual closure of the scene is interrupted by a scene change. As Lee Wallace suggests, by planning a hit against Camilla, "Diane circumvents the heterosexual closure of the industry story but only by going over to its storyworld, an act that proves fatal for both women, the cause and effect relations of the thriller being fundamentally incompatible with the plot of lesbianism as the film presents it".
In her fantasy, Adam has his own subplot which leads to his humiliation. While this subplot can be understood as a revenge fantasy born from jealousy, Cole argues that this is an example of Diane's transgender gaze: "Adam functions like a mirror- a male object upon which Diane might project herself".
Media portrayals of Naomi Watts' and Laura Elena Harring's views of their onscreen relationships were varied and conflicting. Watts said of the filming of the scene, "I don't see it as erotic, though maybe it plays that way.
The last time I saw it, I actually had tears in my eyes because I knew where the story was going. It broke my heart a little bit. These girls look really in love and it was curiously erotic.
Rita's very grateful for the help Betty's given [her] so I'm saying goodbye and goodnight to her, thank you, from the bottom of my heart, I kiss her and then there's just an energy that takes us [over].
Of course I have amnesia so I don't know if I've done it before, but I don't think we're really lesbians. But it is Betty's identity, or loss of it, that appears to be the focus of the film.
For one critic, Betty performed the role of the film's consciousness and unconscious. I had to therefore come up with my own decisions about what this meant and what this character was going through, what was dream and what was reality.
My interpretation could end up being completely different, from both David and the audience. But I did have to reconcile all of that, and people seem to think it works.
Betty, however difficult to believe as her character is established, shows an astonishing depth of dimension in her audition.
The sexuality erodes immediately as the scene ends and she stands before them shyly waiting for their approval. One film analyst asserts that Betty's previously unknown ability steals the show, specifically, taking the dark mystery away from Rita and assigning it to herself, and by Lynch's use of this scene illustrates his use of deception in his characters.
Rita Laura Elena Harring is the mysterious and helpless apparent victim, a classic femme fatale with her dark, strikingly beautiful appearance.
She is also the first character with whom the audience identifies, and as viewers know her only as confused and frightened, not knowing who she is and where she is going, she represents their desire to make sense of the film through her identity.
Her amnesia makes her a blank persona, which one reviewer notes is "the vacancy that comes with extraordinary beauty and the onlooker's willingness to project any combination of angelic and devilish onto her".
After Betty and Rita find the decomposing body, they flee the apartment and their images are split apart and reintegrated.
David Roche notes that Rita's lack of identity causes a breakdown that "occurs not only at the level of the character but also at the level of the image; the shot is subjected to special effects that fragment their image and their voices are drowned out in reverb, the camera seemingly writing out the mental state of the characters".
It is this transformation that one film analyst suggests is the melding of both identities. This is supported by visual clues, like particular camera angles making their faces appear to be merging into one.
This is further illustrated soon after by their sexual intimacy, followed by Rita's personality becoming more dominant as she insists they go to Club Silencio at 2 a.
Diane Selwyn Naomi Watts is the palpably frustrated and depressed woman, who seems to have ridden the coattails of Camilla, whom she idolizes and adores, but who does not return her affection.
She is considered to be the reality of the too-good-to-be-true Betty, or a later version of Betty after living too long in Hollywood.
She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry". Rita's fear, the dead body and the illusion at Club Silencio indicate that something is dark and wrong in Betty and Rita's world.
In becoming free from Camilla, her moral conditioning kills her. Camilla Rhodes Melissa George, Laura Elena Harring is little more than a face in a photo and a name that has inspired many representatives of some vaguely threatening power to place her in a film against the wishes of Adam.
Referred to as a "vapid moll" by one reviewer,  she barely makes an impression in the first portion of the film, but after the blue box is opened and she is portrayed by Laura Elena Harring, she becomes a full person who symbolizes "betrayal, humiliation and abandonment",  and is the object of Diane's frustration.
Diane is a sharp contrast to Camilla, who is more voluptuous than ever, and who appears to have "sucked the life out of Diane".
On a film set where Adam is directing Camilla, he orders the set cleared, except for Diane—at Camilla's request—where Adam shows another actor just how to kiss Camilla correctly.
Instead of punishing Camilla for such public humiliation, as is suggested by Diane's conversation with the bungling hit man, one critic views Rita as the vulnerable representation of Diane's desire for Camilla.
Adam Kesher Justin Theroux is established in the first portion of the film as a "vaguely arrogant",  but apparently successful, director who endures one humiliation after another.
Theroux said of his role, "He's sort of the one character in the film who doesn't know what the [hell's] going on.
I think he's the one guy the audience says, 'I'm kind of like you right now. I don't know why you're being subjected to all this pain.
After he checks into a seedy motel and pays with cash, the manager arrives to tell him that his credit is no good. Witnessed by Diane, Adam is pompous and self-important.
He is the only character whose personality does not seem to change completely from the first part of the film to the second.
Roque Michael J. Anderson , all of whom are somehow involved in pressuring Adam to cast Camilla Rhodes in his film. These characters represent the death of creativity for film scholars,   and they portray a "vision of the industry as a closed hierarchical system in which the ultimate source of power remains hidden behind a series of representatives".
Coco, in the first part of the film, represents the old guard in Hollywood, who welcomes and protects Betty. In the second part of the film, however, she appears as Adam's mother, who impatiently chastises Diane for being late to the party and barely pays attention to Diane's embarrassed tale of how she got into acting.
The filmmaking style of David Lynch has been written about extensively using descriptions like "ultraweird",  "dark"  and "oddball".
By using these characters in scenarios that have components and references to dreams, fantasies and nightmares, viewers are left to decide, between the extremes, what is reality.
One film analyst, Jennifer Hudson, writes of him, "Like most surrealists, Lynch's language of the unexplained is the fluid language of dreams.
David Lynch uses various methods of deception in Mulholland Drive. A shadowy figure named Mr. Roque, who seems to control film studios, is portrayed by dwarf actor Michael J.
Anderson also from Twin Peaks. Anderson, who has only two lines and is seated in an enormous wooden wheelchair, was fitted with oversized foam prosthetic arms and legs in order to portray his head as abnormally small.
Both then turn and smile pointedly at Diane. Film critic Franklin Ridgway writes that the depiction of such a deliberate "cruel and manipulative " act makes it unclear if Camilla is as capricious as she seems, or if Diane's paranoia is allowing the audience only to see what she senses.
In actuality, it is a sound stage where Betty has just arrived to meet Adam Kesher, that the audience realizes as the camera pulls back further. Ridgway insists that such deception through artful camera work sets the viewer full of doubt about what is being presented: "It is as if the camera, in its graceful fluidity of motion, reassures us that it thinks it sees everything, has everything under control, even if we and Betty do not.
According to Stephen Dillon, Lynch's use of different camera positions throughout the film, such as hand-held points of view, makes the viewer "identify with the suspense of the character in his or her particular space", but that Lynch at moments also "disconnects the camera from any particular point of view, thereby ungrounding a single or even a human perspective" so that the multiple perspectives keep contexts from merging, significantly troubling "our sense of the individual and the human".
The first portion of the film that establishes the characters of Betty, Rita and Adam presents some of the most logical filmmaking of Lynch's career.
Diane's scenes feature choppier editing and dirtier lighting that symbolize her physical and spiritual impoverishment,  which contrasts with the first portion of the film where "even the plainest decor seems to sparkle", Betty and Rita glow with light and transitions between scenes are smooth.
In the darker part of the film, sound transitions to the next scene without a visual reference where it is taking place. At Camilla's party, when Diane is most humiliated, the sound of crashing dishes is heard that carries immediately to the scene where dishes have been dropped in the diner, and Diane is speaking with the hit man.
Sinnerbrink also notes that several scenes in the film, such as the one featuring Diane's hallucination of Camilla after Diane wakes up, the image of the being from behind Winkie's after Diane's suicide, or the "repetition, reversal and displacement of elements that were differently configured" in the early portion of the film, creates the uncanny effect where viewers are presented with familiar characters or situations in altered times or locations.
Another recurring element in Lynch's films is his experimentation with sound. He stated in an interview, "you look at the image and the scene silent, it's doing the job it's supposed to do, but the work isn't done.
When you start working on the sound, keep working until it feels correct. There's so many wrong sounds and instantly you know it. Sometimes it's really magical.
After Lynch added "a hint of the steam [from the wreck] and the screaming kids", however, it transformed Laura Elena Harring from clumsy to terrified.
Neil Shurley, . Reviewers note that Badalamenti's ominous score, described as his "darkest yet",  contributes to the sense of mystery as the film opens on the dark-haired woman's limousine,  that contrasts with the bright, hopeful tones of Betty's first arrival in Los Angeles,  with the score "acting as an emotional guide for the viewer".
Lynch uses two pop songs from the s directly after one another, playing as two actresses are auditioning by lip synching them.
According to an analyst of music used in Lynch films, Lynch's female characters are often unable to communicate through normal channels and are reduced to lip-synching or being otherwise stifled.
At the hinge of the film is a scene in an unusual late night theater called Club Silencio where a performer announces " No hay banda there is no band Described as "the most original and stunning sequence in an original and stunning film",  Rebekah Del Rio 's Spanish a cappella rendition of " Crying ", named "Llorando", is praised as "show-stopping Lynch wrote a part for her in the film and used the version she sang for him in Nashville.
According to one film scholar, the song and the entire theater scene marks the disintegration of Betty's and Rita's personalities, as well as their relationship.
Since its release, Mulholland Drive has received "both some of the harshest epithets and some of the most lavish praise in recent cinematic history".
The website's critical consensus reads, "David Lynch's dreamlike and mysterious Mulholland Drive is a twisty neo-noir with an unconventional structure that features a mesmerizing performance from Naomi Watts as a woman on the dark fringes of Hollywood.
Roger Ebert of the Chicago Sun-Times , who had previously been dismissive of Lynch's work, awarded the film four stars and said, "David Lynch has been working toward Mulholland Drive all of his career, and now that he's arrived there I forgive him for Wild at Heart and even Lost Highway This sinful pleasure is a fresh triumph for Lynch, and one of the best films of a sorry-ass year.
For visionary daring, swooning eroticism and colors that pop like a whore's lip gloss, there's nothing like this baby anywhere.
Hoberman of The Village Voice stated, "This voluptuous phantasmagoria The very things that failed him in the bad-boy rockabilly debacle of Lost Highway —the atmosphere of free-floating menace, pointless transmigration of souls, provocatively dropped plot stitches, gimcrack alternate universes—are here brilliantly rehabilitated.
Scott of The New York Times wrote that, while some might consider the plot an "offense against narrative order", the film is "an intoxicating liberation from sense, with moments of feeling all the more powerful for seeming to emerge from the murky night world of the unconscious".
Mulholland Drive was not without its detractors. Rex Reed of The New York Observer said that it was the worst film he had seen in , calling it "a load of moronic and incoherent garbage".
Lynch needs to renew himself with an influx of the deep feeling he has for people, for outcasts, and lay off the cretins and hobgoblins and zombies for a while.
Although such tactics are familiar from Twin Peaks and elsewhere, the sudden switcheroo to head games is disappointing because, up to this point, Lynch had so wonderfully succeeded in creating genuine involvement.
He throws everything into the mix with the lone goal of confusing us. Nothing makes any sense because it's not supposed to make any sense.
There's no purpose or logic to events. Lynch is playing a big practical joke on us. You wouldn't need doppelgangers and shadow-figures if your characters had souls.
Mulholland Drive is the monster behind the diner; it's the self-delusional dream turned into nightmare. In a BBC poll, it was ranked 21st among all American films.
It was released without chapter stops, a feature that Lynch objects to on the grounds that it "demystifies" the film. On July 15, , The Criterion Collection announced that it would release Mulholland Drive , newly restored through a 4K digital transfer, on DVD and Blu-ray on October 27, , both of which include new interviews with the film's crew and the edition of Chris Rodley's book Lynch on Lynch , along with the original trailer and other extras.
Lynch was nominated for an Academy Award for Best Director for the film. From Wikipedia, the free encyclopedia. Not to be confused with the film Mulholland Falls.
Theatrical release poster. Release date. Running time. Darby Michael J. One night, I sat down, the ideas came in, and it was a most beautiful experience.
The clues are: Pay particular attention in the beginning of the film: At least two clues are revealed before the credits.
Notice appearances of the red lampshade. Can you hear the title of the film that Adam Kesher is auditioning actresses for? Is it mentioned again?
An accident is a terrible event—notice the location of the accident. Who gives a key, and why? Notice the robe, the ashtray, the coffee cup. What is felt, realized and gathered at the Club Silencio?
Did talent alone help Camilla? Note the occurrences surrounding the man behind Winkie's. Where is Aunt Ruth? Harring as the dark-haired woman.
Gilda poster The dark-haired woman assumes the name "Rita" after seeing the name on a poster. Her search for her identity has been interpreted by film scholars as representing the audience's desire to make sense of the film.
The album progresses much like a typical Lynch film, opening with a quick, pleasant Jitterbug and then slowly delving into darker string passages, the twangy guitar sounds of '50s diner music and, finally, the layered, disturbing, often confusing underbelly of the score.
British Board of Film Classification. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic.
On Location: Los Angeles. My best movies so far! Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Oscar.
Edit Cast Cast overview, first billed only: Naomi Watts Irene Dan Birnbaum Irene's Companion Laura Harring Detective McKnight Brent Briscoe Detective Domgaard Maya Bond Aunt Ruth Patrick Fischler Dan Michael Cooke Herb Bonnie Aarons Bum Michael J.
Roque Joseph Kearney Roque's Manservant Enrique Buelna Back of Head Man Richard Mead Edit Storyline Still untarnished by the false promises of the rapacious film industry, the wide-eyed actress, Betty, sets foot on bustling, sun-kissed Hollywood.
Taglines: A woman in search of stardom. A woman in search of herself - in the city of dreams. A key to a mystery - lies somewhere on Mulholland Drive.
Edit Did You Know? Trivia Adam Kesher smashing the producer's car windshield in with a golf club is a reference to the famous incident where Jack Nicholson committed the same act.
Nicholson's nickname is "Mulholland Man. Goofs The Sony-brand telephone that Betty and Rita use to call Diane Selwyn has separate buttons for 'on' and 'off' functions.
However, Betty presses the 'on' button to turn the phone off following the call. Quotes [ first lines ] Rita : What are you doing? We don't stop here.
Furthermore, many of the characters' names are simply not mentioned at all during the course of the film Billy Deznutz, Joe Messing, Bondar, etc.
Alternate Versions Some scenes were deleted to shorten the running time of the movie. Some of the missing scenes are: An additional scene of the detectives McKnight and Domgaard in the police station talking about the car crash the previous night on Mulholland Drive.
A full scene of dialog with the hit man Joe and the pimp Billy in Pinky's Hot Dog stand with Joe asking about information on the missing woman and about the hot dogs served while the drugged out streetwalker Laney looks on.
An scene of the Castigliane limo arriving outside Adam Kesher's house where the goon, Kenny, gets out and talks briefly with Taka, the Japanese gardener in the driveway asking if he has seen Adam recently.
A scene of Betty arriving on the studio lot and meeting Martha Johnson outside the producer's office and Wally coming out the front door to meet her and take her inside.
After surviving a terrible car accident along Mulholland Drive, a woman loses her memory completely. Frightened and traumatized, she takes refuge in a house belonging to an Hollywood actress where she meets a girl seeking her fortune, who tries to help her remember who she is.
In the meantime, a well-known filmmaker is strong-armed by Mafia into casting their actress of choice in the leading role of his film, and a monstrous figure terrorises an unnamed man.
Things went wrong because the broadcaster was not satisfied with the footage and they decided to abandon the whole project. But thanks to the French film production StudioCanal, Lynch managed to take the unreleased pilot back and he decided to get some new material — about forty minutes of new scenes — reassembling everything, turning it into a film and subsequently releasing it in theaters in The Trauma, the Dream, and the dream as trauma.
Mulholland Drive is the greatest study of a dream — and therefore of a trauma — ever seen in theatres, which takes place on three interlacing and overlapping levels — Reality, Dream and Subconscious.