Mulholland Dr. Explanation?

[godardian]

Mulholland Dr was my favorite movie of 2001... but from what I remembered, even though I saw a "plot" similarity to Lost Highway, I remembered distinctly disliking Lost Highway at the time I saw it, which was years earlier.

Comparing the two, I thought Mulholland had so many emotional layers and an overriding, very moving theme of optimistic dreams vs. desperate reality; never have I had a superimposition make me well up like the one at the end of Mulholland. That's another difference- visually, I thought Mulholland went to the heights of the Lynchian mis en scene- it glowed, it sparkled- whereas Lost Highway felt more like some overdone, pseudo-transgressive Marilyn Manson video.

This is all based on my initial reaction to Lost Highway, though. I'm anxious to see it again, if/when it's released on DVD. But I found Mulholland Dr. to be a far more complete work. In fact, it's one of the most complete-feeling movies I've ever seen; it satisfies in the same way The Cook, the Thief, His Wife, and Her Lover did. Everything feels addressed, if not resolved. I felt Lost Highway, on the other hand, was a little bit self-impressed, coasting a little bit on some abstract "darkness."

Any thoughts on the unfavorable comparison?

[children with angels]

That's interesting: I prefer Lost Highway because, to me, It feels much more complete than Mulholland Drive. The circularity of the plot gives the film a real sense of closure - and yet in no way is it explanitory - it just feels right. I see it partly as a wonderful homage to the movies in general, but particularly to the tradition of the road movie - which it absolutely blows apart.
To me it feels like there are too many different strands in Mulholland which are left as interesting sections: it feels to me to add up to less than the sum of its parts.

The dark mood you talk about in Lost Highway is also what draws me to it: I find it essential to my enjoyment and comprehension of it - it is essentially a mood movie. What makes me preffer it is that it manages to maintain this mood throughout, whereas - towards the end - Mulholland Drive loses its mood (which is very effectively established) through its inspired lunacy (namely: the tiny old people); I stop feeling it right at the end. The final moment of Lost Highway, on the other hand, is intensely powerful and hellish.

However, this opinion could be because I've watched Lost Highway a lot more than Mulholland Drive, and Lynch movies only get better with repeated viewings...

[SoNowThen]

I fully agree (about Lost Highway).

[MacGuffin]

Remember, Mulholland Drive was originally conceived to be a tv series. Lynch had to go back and add additional scenes to turn it into "his" film rather than leave it an open-ended pilot geared for American audiences' living rooms for ratings.

[godardian]

I do intend to see it again. I wish they would release that and Wild at Heart on DVD...

Speaking of which, what ever happened to Laura Dern? She was so good in the Lynch stuff, and then I recently got the DVD of Citizen Ruth, and she's so completely different, yet equally great in that- so damn funny!! But then it seemed like all she could get was TV work. I think she's maybe an "underrated" actress, except I can't think of anyone who doesn't like her or at least appreciate her. Maybe "underutilized" is a better word...

I also thought Naomi Watts gave a great performance in Mulholland Dr., and... I dunno, there was just something so much more tender about it. I was intellectually engaged in the big dream-circle of the "plot," of course, but I also felt so much from it... I really felt a sense of loss at the end, after everything came together. Watts made the Diane Selwyn character into something almost like an archetype... I really felt that the different parts of us, as human beings, were being addressed by the film; our ideals, the secret fantasies of victory/success/happiness we all harbor, and then the disappointment of how different and even opposed (and even CRUEL) reality so often is.

I didn't feel like the tiny people ruined the mood... I mean, it was pretty clear to me that they were a psychotic hallucination from the ultra-XCU views and the sounds, etc. They actually sort of creeped me out, like a spider or a rat, small things that move fast and seem to be out to get you. Primal, man.  

[MacGuffin]

I wish they would release that and Wild at Heart on DVD.

First post:
http://xixax.com/phpBB2/viewtopic.php?t=22&postdays=0&postorder=asc&start=45

[children with angels]

I watched Mulholland Drive for a second time the other day and, of course, couldn't help but think about all the stuff that had been discussed here (the "explanation" the thread title offers).

When I began to think of it in terms of the ideas that had been given out here, the movie suddenly seemed so simple - and became much more moving than before (I had previously appreciated much more on a mood, atmosphere, imagery level rather than a plot one). The thing is: it almost felt too simple. The beauty for me of a lot of Lynch is that you have to work it out for yourself and make your own interpretation (as has been so consistently argued, sometimes angrily, here...), and when the plot just suddenly came together this time, it was almost like a disappointment. I'm not sure exactly why: I think I need to watch it one more time to make up my mind again fully.

The ending this time really got me emotionally though - as you say, Godardian, the final superimposition is such a beautiful, moving thing when seen in context (previously I had a vague feeling about its significance, but this time it spoke to me more clearly). However, the movie was reduced a little for me to have it sorted out in my mind: it just became a story told in an interesting way (like Egoyan might, do for example - x10 for Lynch, of course), rather than something more illusiory and interesting. I really don't know why it should disappoint me that it became a story that made sense to me, but somehow it did.

I dunno. I'm really not sure of my final opinon. One more watch is needed. I may in fact prefer it to Lost Highway after all (even though I really enjoy the fact that LH, despite an "explanation" in this thread, doesn't come together for me in a way that makes total narrative sense - but more philisophical sense...). It certainly made me feel more this time.

However: I still stand by the silliness of the little old couple. Even though they are fucking freaky too, they make me want to giggle, which is unfortunate.

[budgie]

I wish they would release that and Wild at Heart on DVD.

First post:
http://xixax.com/phpBB2/viewtopic.php?t=22&postdays=0&postorder=asc&start=45

I went dutifully for my Region 2 on May 12th like I was told, and it's been put back till June 24th!

Starved of new Lynch, and I secretly hate him for denying me the new Eraserhead.

Aww, not really, Dave. How could I?

[DavTMcGowan]

I love this movie so much, and yes I do get it (at least I'm pretty sure I do).  But I have one question that I just can't figure out on my own: what is the lady singing about in the silencio scene.  This is a pretty crucial scene in the film and unfortunately I don't speak whatever language she's singing in.  From my limited knowlegde of every other language in teh world, I've deduced that she's singing about lost love, or something along those lines.  Can anyone provide a text translation?  Am I just digging way to deep into this film?  Sorry, but I love it so much I want to know exactly what she's singing.

[Ghostboy]

The language is Spanish, the song is Roy Orbison's 'Crying,' and the English translation is:

I was all right for a while
I could smile for a while
Then I saw you last night
You held my hand so tight
When you stopped to say hello
You wished me well
You couldn't tell that
I've been crying over you,
crying over you
And you said "So long"
Left me
standing all alone, alone and crying, crying, crying, crying
It's hard to understand
But the touch of your hand can start me crying

I thought that I was over you But it's true, so true
I love you even more than I did before
But darling, what can I do?
For you don't love me
And I'll always be crying over you, crying over you

Yes now you're gone
And from this moment on, I'll be crying, crying, crying, crying
Yeah, crying, crying over you

I was just thinking about how immediately after getting home from the show, when Betty disappears, Rita asks 'where are you' in Spanish. The connections will never end!

[Pubrick]

And I'll always be crying over you, crying over you

I was just thinking about how immediately after getting home from the show, when Betty disappears, Rita asks 'where are you' in Spanish. The connections will never end!

yeah i don't know how ppl could get the last part of the film without speaking spanish,. also i don't know about roy orbison but in the film she says "crying for ur love, crying for your love". for you works too tho.

now i will give u the ultimate meaning of this movie, the truth that will set u free and put an end to this whole debate, the terrifying knowledge that the citizens of springfield were not ready for and which caused them to tell Mark McGwire to sock a few dingers instead of hearing this horrifying information, there is definitely a solution to the riddle, it all comes down to one name, one person who's identity is pivotal to deciphering this most mysterious of secrets, and that person is that guy that oh nevermind.

[Sleuth]

Did you just rip off my old signature

[Pubrick]

no.

[Sleuth]

k.

[©brad]

godardian, dude, that avatar is waaaaaaaaaaay too big. like for real.