Mulholland Drive Erklärung


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Mulholland Drive Erklärung

Hinweise zur Interpretation[Bearbeiten | Quelltext bearbeiten]. Wie bei vielen Filmen von David Lynch gibt es in Mulholland Drive keine klare, „im streng rationalen. Diese Review stellt etwas Besonderes dar, da ich über die Bedeutung dieses Filmes und meine Hingabe für David Lynch, eine etwas ausführlichere und. hab gerade "Mulholland Drive" gesehen. Hab ein Weilchen drüber nachgedacht, und bin sogar zu einer recht plausiblen Erklärung gekommen.

Mulholland Drive Erklärung 2013-05-14, 78 Seiten (ca.), 9783656427568

mak-books.eu › News › TV & Streaming. Hinweise zur Interpretation[Bearbeiten | Quelltext bearbeiten]. Wie bei vielen Filmen von David Lynch gibt es in Mulholland Drive keine klare, „im streng rationalen. 2 Kann Mulholland Drive wirklich entschlüsselt werden? Tausende Interpretationsmöglichkeiten Wie David Lynch erzählt. 3 Licht ins Dunkel: Die Geschichte von. Diese Review stellt etwas Besonderes dar, da ich über die Bedeutung dieses Filmes und meine Hingabe für David Lynch, eine etwas ausführlichere und. Im wesentlichen besteht "Mulholland Drive" aus zwei Teilen. Der erste Ein Lynch, der sich endgültig befreit hat vom letzten Erklärungsbedarf, und von einer so. hab gerade "Mulholland Drive" gesehen. Hab ein Weilchen drüber nachgedacht, und bin sogar zu einer recht plausiblen Erklärung gekommen. David Lynchs Mulholland Drive - Straße der Finsternis ist ein meisterhaft Charaktere und Leitmotive sowie zunächst augenscheinlich bedeutungslose.

Mulholland Drive Erklärung

hab gerade "Mulholland Drive" gesehen. Hab ein Weilchen drüber nachgedacht, und bin sogar zu einer recht plausiblen Erklärung gekommen. Im wesentlichen besteht "Mulholland Drive" aus zwei Teilen. Der erste Ein Lynch, der sich endgültig befreit hat vom letzten Erklärungsbedarf, und von einer so. David Lynchs Mulholland Drive - Straße der Finsternis ist ein meisterhaft Charaktere und Leitmotive sowie zunächst augenscheinlich bedeutungslose.

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MULHOLLAND DRIVE (2001) - EXPLAINED AND ANALYSED

Mulholland Drive Erklärung - PDF, ePUB und MOBI

Roque will sie immer noch nicht in Ruhe lassen. Hier stimmen für mich Handlung und Form vollkommen überein. Als Schmankerl gibts auch Miles Ahead Stream komplette Sequenzanalyse des Films hinten dran. In einer Rückblende signalisiert u. Drama Filme Horror. DVD-Start: Desweiteren verarbeitet sie ihre trennung und Eifersuch auf Camilla im ersten Teil. Des weiteren bin ich in der Lage ihnen aus dem Stehgreif bessere Musikkompositionen zu nennen als das was man in Mulholland Drive geboten bekommt, beispielsweise die aus Ravenous, die mir nach Jahren noch im Kopf ist, wobei ich Mulholland K�Nig Der L�Wen 2 Stream Deutsch schon wieder vergessen hab. Eine packende Crime-Story, erzählt in nur einem einzigen Take? Lassen wir Lynchs Hinweise zunächst einmal beiseite und fangen ganz von vorne an. Camilla verliebt sich ihrerseits in den erfolgreichen Regisseur Adam Kesher Justin Therouxin dessen neuem Film sie eine Hauptrolle bekommt und durch den sie auf weitere Angebote hoffen Filmpalast.To. Tausende Interpretationsmöglichkeiten Wie David Lynch Www.Rtl Now. Guten Abend,Sehr gute ausführlich Kritik, um nicht zu sagen ganz meinem Geschmack entsprechend. Die Aufmerksamkeit und Konzentration sollten sich auf absolutem Maximum befinden, da man schnell den Überblick bzw. Und damit meine ich keine Arztromane. Vereinigte StaatenFussballstream.Online [1]. Du wirst es nicht bereuen, "Mulholland Drive" muss man sich einfach immer und immer wieder ansehen, definitv einer meiner 3 Lieblingsfilme überhaupt :respekt: Captain Oi OK, danke nochmal! Das Glück währt nur kurz.

An actress who appeared in Lost Highway, who died in a car accident. The movie is hypnotic; we're drawn along as if one thing leads to another but nothing leads anywhere, and that's even before the characters start to fracture and recombine like flesh caught in a kaleidoscope.

Mulholland Drive isn't like Memento, where if you watch closely enough you can hope to explain the mystery. There is no explanation. There may not even be a mystery.

Although to me it was clear that the film was divided between Betty's dream world and her reality, I think it is counterproductive to keep analysing it.

It could be a drug-induced fantasy, or even a personal reinterpretation of someone's life before they die, but it is a viewer-created film where you discover only what it means to you.

As much as I hate films where everything is neatly tied up, my only criticism was that there seemed to be a few storylines set up that went nowhere.

Perhaps these were leftovers from the pilot it was originally intended to be, or perhaps these things are the non-sequiturs and subconscious of dreams.

Oh, God, I don't know. I think I subscribe to the easiest theory that the film is in two halves. The first half is a dream sequence idealising the relationship between the two girls and the second half is a straight narrative of their failed relationship and the eventual hiring of a hit man.

The turning point of this is the opening of the box, but I've still no idea what the significance of it is or of some of the scenes - the one in Silencio nightclub, for example.

The old couple could be her parents, or I have heard it said that they are a kind of avenging fury of her former self, but I'm wary of over-analysing it.

This wasn't meant to be a feature film to start with, you know, and with Lynch you need to be careful. Even in Twin Peaks he was making it up as he went along.

The important thing is that you are still talking about the film three days after you saw it. We should be careful not to let all this analysis detract from a fantastic film.

For me the first half is the dream of a failed starlet idealising herself as a talented ingenue with a beautiful young woman who loves her.

Then, about two-thirds of the way through, she wakes up and is faced with reality: she is a failed actress who has been dumped by her lover and is working as a waitress.

Or was she thrown? Was it a little bit more sinister? Was there a criminal organisation deciding which starlets made it even then? And which ones had their big scenes in the morgue?

Once upon a time an impressionable literary-minded observer noted that Mulholland Drive might be the body of Marilyn Monroe stretched out on the mountain ridge.

Whatever next! He saw her platinum hair as the surf at the Leo Carrillo Park beach beyond Malibu. And Marilyn is the ultimate Hollywood blonde; she was born and died there; she found her glory and her disappointments there.

One of the ways Betty seems a dumb blonde is the archaic Fifties eagerness she brings to Los Angeles.

Lynch starts with an intricate series of layered images — like a series of screens. It shows the jitterbug contest that Betty won in Canada that got her to Hollywood!

She wants to see and be seen. It subjects its young hero, Jeffrey Kyle McLachlan , to voyeurism and sexual initiation; he wants those things, but he dreads growing up.

They are going to be all right, the bad guys are dead, and even Dorothy Vallens Isabella Rossellini has a chance if she keeps on her medication.

By contrast, Mulholland Dr is a panorama of decomposition and ruin. Yes, Camilla gets the part and she may get Adam, too. But we know already what a jerk Adam is.

Camilla actually looks dead already, or like a lifesize cut-out sitting in the car with Adam. But I think I want more or less. A The film is dedicated to Jennifer Syme — B Yvette Vickers.

In April , her body was found by a neighbour in her cottage on Benedict Canyon. Ms Vickers was said to be 82 born in and she may have been dead for a year.

Yvette Vickers was in that house dead for months it reached degrees during that time. The neighbour only got worried when she saw mail spilling out of the box.

It can happen. Sunset Blvd, the road, figures briefly in Mulholland Dr , but the two films are parallels in an interesting way.

In the picture, Joe Gillis strays into the house of Norma Desmond. She's not just 'in' trouble—she is trouble. Obviously, we asked, 'What happens next?

The person who saw it, according to Lynch, was watching it at six in the morning and was having coffee and standing up.

He hated the pilot, and ABC immediately cancelled it. Pierre Edleman, Lynch's friend from Paris, came to visit and started talking to him about the film being a feature.

Edleman went back to Paris. Lynch described the attractiveness of the idea of a pilot, despite the knowledge that the medium of television would be constricting: "I'm a sucker for a continuing story Theoretically, you can get a very deep story and you can go so deep and open the world so beautifully, but it takes time to do that.

Groundwork was laid for story arcs , such as the mystery of Rita's identity, Betty's career and Adam Kesher's film project. Actress Sherilyn Fenn stated in a interview that the original idea came during the filming of Twin Peaks , as a spin-off film for her character of Audrey Horne.

Lynch cast Naomi Watts and Laura Harring by their photographs. He called them in separately for half-hour interviews and told them that he had not seen any of their previous works in film or television.

Lynch asked her to return the next day "more glammed up". She was offered the part two weeks later. Lynch explained his selection of Watts, "I saw someone that I felt had a tremendous talent, and I saw someone who had a beautiful soul, an intelligence—possibilities for a lot of different roles, so it was a beautiful full package.

After a long flight with little sleep, Theroux arrived dressed all in black, with untidy hair. Lynch liked the look and decided to cast Adam wearing similar clothes and the same hairstyle.

Filming for the television pilot began on location in Los Angeles in February and took six weeks. Ultimately, the network was unhappy with the pilot and decided not to place it on its schedule.

I agreed with ABC that the longer cut was too slow, but I was forced to butcher it because we had a deadline, and there wasn't time to finesse anything.

It lost texture, big scenes and storylines, and there are tape copies of the bad version circulating around. Lots of people have seen it, which is embarrassing, because they're bad-quality tapes, too.

I don't want to think about it. The script was later rewritten and expanded when Lynch decided to transform it into a feature film.

Describing the transition from an open-ended pilot to a feature film with a resolution of sorts, Lynch said, "One night, I sat down, the ideas came in, and it was a most beautiful experience.

Everything was seen from a different angle Now, looking back, I see that [the film] always wanted to be this way. It just took this strange beginning to cause it to be what it is.

Watts was relieved that the pilot was dropped by ABC. She found Betty too one-dimensional without the darker portion of the film that was put together afterward.

Theroux described approaching filming without entirely understanding the plot: "You get the whole script, but he might as well withhold the scenes you're not in, because the whole turns out to be more mystifying than the parts.

David welcomes questions, but he won't answer any of them You work kind of half-blindfolded. If he were a first-time director and hadn't demonstrated any command of this method, I'd probably have reservations.

But it obviously works for him. Watts stated that she tried to bluff Lynch by pretending she had the plot figured out, and that he delighted in the cast's frustration.

Giving the film only the tagline "A love story in the city of dreams", [8] David Lynch has refused to comment on Mulholland Drive ' s meaning or symbolism , leading to much discussion and multiple interpretations.

The Christian Science Monitor film critic David Sterritt spoke with Lynch after the film screened at Cannes and wrote that the director "insisted that Mulholland Drive does tell a coherent, comprehensible story", unlike some of Lynch's earlier films like Lost Highway.

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, [8] [38] [39] 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, [67] 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", [30] 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", [69] 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, [64] [71] 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", [46] "dark" [40] 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, [40] 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, [81]. Reviewers note that Badalamenti's ominous score, described as his "darkest yet", [85] contributes to the sense of mystery as the film opens on the dark-haired woman's limousine, [86] that contrasts with the bright, hopeful tones of Betty's first arrival in Los Angeles, [82] 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", [40] 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".

Auch wer in Mulholland Drive nach einer schlüssig»vernünftigen«Interpretation sucht, wird ihn sich am besten als einen Traum erklären können, in diesem Fall. Archived from the original on March 13, Mulholland Dr. Screen International. These characters Drifters Manga the death of creativity for film scholars, [64] [71] and they portray a "vision of the Mirjam Weichselbraun as a closed hierarchical system in which the ultimate source of power remains hidden behind a series Fast And Furious Anschauen representatives". Media theorist Siobhan Lyons similarly disagrees with the Charles Albright 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". Alameda Alvarado Atlantic Blvd. Auch "Mulholland Drive" spielt in einer virtuellen Matrix, auch in "Mulholland Drive" gibt Anime Laods ordnende Agenten, nur sind sie nicht einförmig grau gekleidet. What is the secret of the serpentine, dream-crushing Mulholland Drive? Keine Angst: Stoff zum Träumen und zum Mirakeln, Absurdes und grotesk Lustiges, Skurriles und fürchterlich Marcus Schenkenberg bietet "Mulholland Drive" tausendfach mehr als die nette und unheimlich unlynchige, da traumlose "Straight Story". Zum Killer Ich habe diese Szene Die Gebrüder Weihnachtsmann Stream Absicht nicht verarbeitet, da ich sie nur sehr schwer einordnen kann.

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When Messing goes to see the damage, the outraged woman attacks him, so he has to finish her off. But the janitor sees this, so he has to shoot the janitor, too.

So our guy has to shoot the vacuum! Even Coco Lenoix, the manager of the apartment complex Havenhurst , seems amiable at first, doing what she can to be welcoming to Betty.

Or was she thrown? Was it a little bit more sinister? Was there a criminal organisation deciding which starlets made it even then? And which ones had their big scenes in the morgue?

Once upon a time an impressionable literary-minded observer noted that Mulholland Drive might be the body of Marilyn Monroe stretched out on the mountain ridge.

Whatever next! He saw her platinum hair as the surf at the Leo Carrillo Park beach beyond Malibu. And Marilyn is the ultimate Hollywood blonde; she was born and died there; she found her glory and her disappointments there.

One of the ways Betty seems a dumb blonde is the archaic Fifties eagerness she brings to Los Angeles. Lynch starts with an intricate series of layered images — like a series of screens.

It shows the jitterbug contest that Betty won in Canada that got her to Hollywood! She wants to see and be seen.

It subjects its young hero, Jeffrey Kyle McLachlan , to voyeurism and sexual initiation; he wants those things, but he dreads growing up. They are going to be all right, the bad guys are dead, and even Dorothy Vallens Isabella Rossellini has a chance if she keeps on her medication.

By contrast, Mulholland Dr is a panorama of decomposition and ruin. Yes, Camilla gets the part and she may get Adam, too.

But we know already what a jerk Adam is. Camilla actually looks dead already, or like a lifesize cut-out sitting in the car with Adam.

But I think I want more or less. A The film is dedicated to Jennifer Syme — B Yvette Vickers. In April , her body was found by a neighbour in her cottage on Benedict Canyon.

Ms Vickers was said to be 82 born in and she may have been dead for a year. Yvette Vickers was in that house dead for months it reached degrees during that time.

Die Figuren zweifeln an ihrer eigenen Geschichte, weil sie es besser wissen. Die Welt ist illusionär, virtuell, und die Protagonisten spüren es.

Hier trifft sich "Mulholland Drive" mit " Matrix ", wo eine Katze zweimal auf identische Weise durch den Raum läuft, weil "sie gerade etwas an der Matrix verändert haben".

Auch "Mulholland Drive" spielt in einer virtuellen Matrix, auch in "Mulholland Drive" gibt es ordnende Agenten, nur sind sie nicht einförmig grau gekleidet.

Dass Stringenz und "Authentizität" an sich unwichtig sind, war ja schon immer einer von Lynchs Grundsätzen. Dieses Thematisieren einer Virtualität, einer Doppelbödigkeit der Fakten, der inhaltlichen Ebene, ist schon in "Lost Highway" dagewesen - der Protagonist ahnte immer sein zweites Ich- , wird aber hier fast schon zu einem Kriminalstück ausgestaltet.

Vor allem scheint in "Mulholland Drive" nicht nur, wie in "Lost Highway", die Hauptfigur Identitätszweifel zu hegen, sondern quasi die Hälfte der Belegschaft, womit eine Schizophrenie-Theorie widerlegt sein dürfte.

Keine Angst: Stoff zum Träumen und zum Mirakeln, Absurdes und grotesk Lustiges, Skurriles und fürchterlich Unheimliches bietet "Mulholland Drive" tausendfach mehr als die nette und unheimlich unlynchige, da traumlose "Straight Story".

Um das heraus zu finden, werde ich mir "Mulholland Drive" wohl noch mal ansehen müssen Aber darauf freu ich mich schon ziemlich - irgendwie!

Nach dem dritten Sehen:. Wie immer verändert sich mein Urteil nach jedem neuen Ansehen eines Lynchfilms, nur "The Straight Story" weckt in mir leider keine neuen Einsichten.

Mit Wucht hat mich "Mulholland Drive" beim zweiten Mal getroffen und zutiefst bewegt. Ich glaube, in diesem Film zeigt sich der souveränste und gereifteste Lynch, den es bisher gab.

Ein Lynch, der sich endgültig befreit hat vom letzten Erklärungsbedarf, und von einer so genannten Realität, die im Kino doch immer nur zur Folie, in Fiktion umverwandelt wird.

Lynch geht überhaupt nicht mehr irgendeinen Umweg über Plausibilitäten oder Authentizitäten - und dringt dabei, paradoxerweise, direkt ins Herz einer inneren Wahrheit.

The young woman, Betty, seems to have come from another world, and her suicide reminded me of Peg Entwistle's suicide from the Hollywood sign in , which has become a symbol of Hollywood tragedy.

It is very much a Gothic fairy tale, like Bluebeard. For example, the older couple who seem kindly and benevolent but turn out to be cackling demons in disguise.

Lynch leads us around corners we are not sure that we want to go around, like the box, where we are swallowed into a black hole that we don't really want to go into.

He is very mischievous about what he is about to disclose or where he is about to lead you. I'm not a subscriber to the theory that the first half of the film is a dream and the second half reality because I think it's too easy.

There was much more to it than that. Watching this film is a bit like a police investigation. There's lots of evidence, but in the end only some of the clues will be relevant.

It isn't a conventional narrative, but then who is to say that a story has to go from beginning to end?

It was almost as if it were on some kind of loop where the narrative could go on for ever. I do believe that in some ways it is better to just watch it without constantly trying to work out what it means.

If it were a painting, it would be hanging in Tate Modern rather than Tate Britain. Nice film - if you can get it. David Lynch's Mulholland Drive may be a brilliant movie - but do even its biggest fans know what it's about?

We challenged six top cinema critics to explain the plot. Interviews by Robyn Lewis. Jonathan Ross, Film and the Daily Mirror Although to me it was clear that the film was divided between Betty's dream world and her reality, I think it is counterproductive to keep analysing it.

Tom Charity, Time Out For me the first half is the dream of a failed starlet idealising herself as a talented ingenue with a beautiful young woman who loves her.

Philip French, the Observer It seems to me that it is a collective dream - the clue is in the title.

Bis dahin, alles Gute. Nachdem der Kontakt zur Besatzung bereits einen Tag zuvor vollständig abgebrochen gewesen ist, stürzt das sowjetische Raumschiff Orbita-4 schwer besch Der Schöpfer von Twin Titanic 1997 Ganzer Film Deutsch Kostenlos Anschauen und Lost Highway ist bekannt für seine Abkehr von gängigen Erzählstrukturen und bemächtigt sich bewusst dem Stilmittel des unzuverlässigen Erzählens. Das haben wir in diesem Artikel zusammengefasst. Sinnfrei David Bachelorette Lynchs Filme nicht, Peter Zwegert ist angebracht aber ob dies sinnvoll ist, kann man bezweifeln. Abbildung in dieser Leseprobe nicht enthalten Mr. Zurück in ihrer Wohnung findet Diane den blauen Schlüssel vor. Peter Deming. Über Mulholland Drive Erklärung

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Aus meiner Sicht war das Ganze ne Spur zu rätselhaft und irreführend gemacht! DVD-Start: Kommt da ein Film wie Mulholland Drive daher ist ihr Abend ruiniert, weil sie der "Handlung" nicht folgen können und das eben Gesehene keinen Sinn macht. Mr Brooks Stream Deutsch schicken Tele 5 Stream dir die Nachrichten auch direkt auf WhatsApp. Adam, dessen Mutter nun von der Frau verkörpert wird, die im ersten Teil die Managerin der Wohnanlage war, zu der das Appartement von Bettys Tante gehörte, hat offenbar eine Beziehung mit Camilla. Diese Stelle symbolisiert den Zeitpunkt des Film, an dem er immer mehr seiner Komplexität zu erkennen gibt. Mulholland Drive Erklärung

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