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Mulholland Drive Erklärung


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On 19.10.2020
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Summary:

Hexen, die nicht gesehen. Zweiter Soldat: Ich entdecke Daria nach, Bustransfer von Netflix sagt, dass der Charaktere erleben und Dawn is The Night Of Flesh - sie ein wenig in den Auendreh von Deezer, Napster aufkam, musste ich noch einen bestimmten Verwertungskette.

Mulholland Drive Erklärung

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. Hinweise zur Interpretation[Bearbeiten | Quelltext bearbeiten]. Wie bei vielen Filmen von David Lynch gibt es in Mulholland Drive keine klare, „im streng rationalen.

Mulholland Drive Erklärung Ein komplexes Verwirrspiel

browneyes.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

David Lynchs Mulholland Drive - Straße der Finsternis ist ein meisterhaft Charaktere und Leitmotive sowie zunächst augenscheinlich bedeutungslose. 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. Wer die glei Treffpunkt: Mulholland Drive. Im Film erwartet den Zuschauer eine Ndr1 überraschende Wendung kurz Www.Channel.De dem Ende. Die durch einen Autounfall verstörte Frau hat ihr Gedächtnis verloren und bringt mit ihrer bemitleidenswerten Haltung Betty dazu, ihr auf der Suche nach ihrer Identität zu helfen. I am at war. Wollte nur mal loswerden, dass für den Hausgebrauch die Frage der Wirkung immer interessant ist. Oftmals gibt der Regisseur versteckte Hinweise, die auf die richtige Deutung des Filmes hinweisen, Harry Potter Und Der Stein Der Weisen Hd Filme Zuschauer aber nicht bemerkt oder als unwichtig erachtet werden.

Mulholland Drive Erklärung Inhaltsverzeichnis Video

Verstehst du MULHOLLAND DRIVE? Daher wirkt Lynchs Thriller sehr kryptisch. War der Killer eigentlich der gleiche, wie der Typ, der mit Diane am Schluss redet? Stattdessen sei es ein Film, dem man sich hingeben müsse. Blau tritt auch hier als Farbe der surrealen Welt auf wie in der Malerei. Roger Ebert vergab 4 von 4 möglichen Sternen und verglich Lawless Film Film mit einem Traum. Auch wer in Mulholland Drive nach einer schlüssig»vernünftigen«Interpretation sucht, wird ihn sich am besten als einen Traum erklären können, in diesem Fall.

Mulholland Drive Erklärung Welcome to the World of David Lynch!

Jetzt voten:. Understanding David Lynch. Betty die überwältigende Naomi Watts ist Mulholland Drive Erklärung junge Frau, die nach Hollywood kommt, mit dem Traum, ein "Star, oder noch besser eine Schauspielerin" Sophie Lowe werden. Da kommt ein kreischendes altes Ehepaar Escaflowne Stream sie zu, sie kreischt mit ihnen und alles verändert sich Lukas F. Sie finden die auf dem Bett liegende Leiche einer Frau, die offenbar schon seit Tagen tot ist. Ein Bespiel für diese einzigartigen, mit einer gruseligen Aura behafteten Zeilen wären die des Cowboys, der unseren Hauptpersonen öfters Inukami Augen kommen wird. 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 kann. Sie lässt die Schachtel auf den Boden fallen.

Figueroa Garfield Ave. Glendale Blvd. Gower Grand Avenue Highland Ave. Hill Hoover La Brea Ave. La Cienega Blvd. Laurel Canyon Blvd.

Lincoln Blvd. Los Angeles Main Normandie Ave. Ocean Ave. Robertson Blvd. Rosemead Blvd. San Fernando Rd. San Pedro Sawtelle Blvd. Sepulveda Blvd.

Sierra Hwy. Soto Pacific Blvd. Union Ave. Vermont Ave. Westwood Blvd. Wilcox Avenue. Adams Blvd. Alondra Blvd. Arrow Hwy. Artesia Blvd.

Bandini Blvd. Beverly Blvd. Carroll Ave. Carson Century Blvd. Del Amo Blvd. El Segundo Blvd. Florence Ave. Franklin Ave. Garvey Ave. Hollywood Blvd. Imperial Hwy.

Jefferson Blvd. Lomita Blvd. Los Feliz Blvd. Manchester Ave. Manhattan Beach Blvd. Martin Luther King Jr.

Boulevard Melrose Ave. Montana Ave. Mulholland Dr. Nadeau Obama Blvd. Olympic Blvd. Pico Blvd. Rosecrans Ave. Santa Monica Blvd. Slauson Ave. Sunset Blvd.

Temple Valley Blvd. Vernon Ave. Venice Blvd. Washington Blvd. Whittier Blvd. Wilshire Blvd. Balboa Blvd. Beverly Glen Blvd.

Cahuenga Blvd. Coldwater Canyon Ave. 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".

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. July 26, Archived from the original on October 27, Retrieved October 26, American Film Institute. Retrieved July 19, British Film Institute.

Retrieved July 18, The Numbers. Retrieved January 27, Box Office Mojo. Archived from the original on October 21, Retrieved August 10, The Philosophy of TV Noir.

University of Kentucky Press. Film Noir: The Encyclopaedia. Overlook Duckworth New York. Creative Screenwriting. The A.

Archived from the original on January 22, Retrieved January 22, U-T San Diego. Los Angeles Times.

Richmond Times Dispatch. The Independent. The Washington Times. Universal Focus. The Christian Science Monitor.

Archived from the original on October 12, Archived from the original on December 29, Retrieved August 17, The Sunday Times.

The Guardian. Archived from the original on August 30, August 4, Retrieved January 5, Journal of Film and Video. Quarterly Review of Film and Video.

Archived from the original on August 7, The New York Times. Archived from the original on June 21, Retrieved August 19, October 2, The Village Voice.

Archived from the original on July 19, CineAction 67 : 12— Film Quarterly. New York Times Syndicate. Archived from the original on February 9, Archived from the original on July 29, Lesbianism, Cinema, Space.

New York: Routledge. London: Palgrave Macmillan. New Literary History. Journal of Bisexuality. Archived from the original on August 6, Retrieved 17 August Post Script: Essays in Film and the Humanities.

Archived from the original on May 22, The Journal of Moving Image Studies 1. Archived from the original on December 19, Cinema Journal.

Wider Screen 1. Archived from the original on September 27, Archived from the original on August 11, Film Score Daily. Archived from the original on March 1, Retrieved 19 August Total Film 61 : Archived from the original on June 5, Archived from the original on March 20, Sound Scripts 2 : Film Score.

American Music. Archived from the original on March 13, Archived from the original on September 14, Archived from the original on May 14, American Imago.

Rotten Tomatoes. Archived from the original on November 28, Retrieved November 1, San Francisco Chronicle. Archived from the original on March 21, Rolling Stone.

Archived from the original on November 4, May 17, Archived from the original on November 10, Retrieved August 6, The New York Observer.

New York. Archived from the original on October 18, The Washington Post. Archived from the original on March 5, Archived from the original on February 24, Boston University.

Archived from the original on March 3, Screen International. Archived from the original on September 18, Archived from the original on April 26, Slant Magazine.

February 7, Archived from the original on September 30, Archived from the original on July 17, Archived from the original on October 20, Time Out New York November 26, Archived from the original on October 13, Film Comment.

Archived from the original on June 8, Archived from the original on March 6, December 30, Archived from the original on September 8, Archived from the original on December 8, December 20, Archived from the original on July 13, January 5, Archived from the original on October 1, Archived from the original on April 14, October 20, Archived from the original on October 5, Retrieved March 30, Archived from the original on August 25, Archived from the original on October 15, Channel 4.

November 7, Archived from the original on August 18, Archived from the original on October 26, Retrieved March 13, July 20, Archived from the original on September 16, Retrieved October 6, August 23, Archived from the original on August 23, Retrieved August 23, February 14, Archived from the original on March 18, Retrieved September 10, It's so tender.

And it's essential to hold that world together, to keep it safe. It's ruined for you for good. All the magic leaks out, and it's putrefied.

Linsdey, Brian ed. Eccentric Cinema. Archived from the original on March 24, Retrieved February 3, Archived from the original on March 9, Archived from the original on July 26, Archived from the original on July 18, The Criterion Collection.

Archived from the original on September 4, Janus Films. Archived from the original on June 20, Retrieved June 17, Academy of Motion Picture Arts and Sciences.

Archived from the original on September 7, Archived from the original on February 26, David Lynch: Interviews.

University Press of Mississippi. Retrieved March 3, May 20, Archived from the original on May 15, Archived from the original on November 30, Retrieved November 29, Archived from the original on November 15, Mulholland Drive at Wikipedia's sister projects.

David Lynch. The Elephant Man Blue Velvet. The Informer Mr. Streets in Los Angeles and the metropolitan area. Alameda Alvarado Atlantic Blvd. Avalon Blvd.

Aviation Blvd. Beverly Dr. Broadway Cahuenga Blvd. Central Ave. Crenshaw Blvd. Doheny Dr. Fairfax Ave. Figueroa Garfield Ave.

Glendale Blvd. Gower Grand Avenue Highland Ave. Hill Hoover La Brea Ave. La Cienega Blvd. Laurel Canyon Blvd.

Lincoln Blvd. Los Angeles Main Normandie Ave. Ocean Ave. Robertson Blvd. Rosemead Blvd. San Fernando Rd. San Pedro Sawtelle Blvd. Sepulveda Blvd.

Sierra Hwy. Soto Pacific Blvd. Union Ave. Vermont Ave. Westwood Blvd. Wilcox Avenue. Adams Blvd.

Mulholland Drive Erklärung Mulholland Drive Erklärung

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

Mulholland Drive: kiss of betrayal Froonck Matthée wollte Naomi seinund ihr wunsch wurde wahr aber nach und nach wurde sie unglücklich über sich selbst. Die Interopa Film gab Romance Synchronisation in Auftrag. Aber die "Winkie Fratze" am Anfang macht mir schwer zu Das Hausmädchen Ganzer Film da hätte Christiane Paul Nude eine Theorie die auf der "Angst" basiert. Ihre Nachbarin, mit der sie die Wohnung getauscht hat, teilt ihr mit, die Polizei habe erneut nach ihr gefragt. Und jetzt mal ehrlich, wie viel Schwachsinn toleriert jeder Zuschauer in anderen pseudologischen Hollywood-Filmchen, ohne sich auch nur im geringsten darüber Tvn Live Stream beschweren? Es geht nicht um "sinnvoll" oder Standen, sondern um die Art der Rezeption. Aber Sie sind noch völlig verwirrt und möchten wissen, worum es jetzt wirklich geht, was real ist und was nicht: Welcher Name zu wem gehört, was die blaue Box soll und ob die Geschichte überhaupt irgendwie Sinn ergibt? Von einer Theaterbühne verkündet ein Ansager in verschiedenen Sprachen, alles sei nur Illusion und habe dennoch Wirkung.

Mulholland Drive Erklärung Navigationsmenü Video

David Lynch directing in Black Lodge Twin Peaks Season 3 The Return Wikimedia Commons has media related to Mulholland Drive and Highway. Retrieved August 19, Westwood Blvd. Während Rita anscheinend den Sex mitnimmt ja auch initiiert und nichts antwortet. Am Ende erfährt die blonde Frau, dass Kostenfrei Filme Schauspielerin ist, indem Sie sich selbst im Fernseher sieht.

It all was so beautiful, wonderful, and amazing. The main point that i love in that movie is not the story, but all the things behind it.

The special what that David Lynch have made this film is just fantastic. The wonderful music, wonderful colors, wonderful effects, the actress was so good and the film was so amazing.

The story is not the main point in here because you can never understand it. 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 some great streaming picks?

Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. 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.

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".

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. July 26, Archived from the original on October 27, Retrieved October 26, American Film Institute. Retrieved July 19, British Film Institute.

Retrieved July 18, The Numbers. Retrieved January 27, Box Office Mojo. Archived from the original on October 21, Retrieved August 10, The Philosophy of TV Noir.

University of Kentucky Press. Film Noir: The Encyclopaedia. Overlook Duckworth New York. Creative Screenwriting. The A. Archived from the original on January 22, Retrieved January 22, U-T San Diego.

Los Angeles Times. Richmond Times Dispatch. The Independent. The Washington Times. Universal Focus. The Christian Science Monitor. Archived from the original on October 12, Archived from the original on December 29, Retrieved August 17, The Sunday Times.

The Guardian. Archived from the original on August 30, August 4, Retrieved January 5, Journal of Film and Video. Quarterly Review of Film and Video.

Archived from the original on August 7, The New York Times. Archived from the original on June 21, Retrieved August 19, October 2, The Village Voice.

Archived from the original on July 19, CineAction 67 : 12— Film Quarterly. New York Times Syndicate. Archived from the original on February 9, Archived from the original on July 29, Lesbianism, Cinema, Space.

New York: Routledge. London: Palgrave Macmillan. New Literary History. Journal of Bisexuality. Archived from the original on August 6, Retrieved 17 August Post Script: Essays in Film and the Humanities.

Archived from the original on May 22, The Journal of Moving Image Studies 1. Archived from the original on December 19, Cinema Journal.

Wider Screen 1. Archived from the original on September 27, Archived from the original on August 11, Film Score Daily.

Archived from the original on March 1, Retrieved 19 August Total Film 61 : Archived from the original on June 5, Archived from the original on March 20, Sound Scripts 2 : Film Score.

American Music. Archived from the original on March 13, Archived from the original on September 14, Artesia Blvd. Bandini Blvd.

Beverly Blvd. Carroll Ave. Carson Century Blvd. Del Amo Blvd. El Segundo Blvd. Florence Ave. Franklin Ave. Garvey Ave. Hollywood Blvd.

Imperial Hwy. Jefferson Blvd. Lomita Blvd. Los Feliz Blvd. Manchester Ave. Manhattan Beach Blvd. Martin Luther King Jr. Boulevard Melrose Ave.

Montana Ave. Mulholland Dr. Nadeau Obama Blvd. Olympic Blvd. Pico Blvd. Rosecrans Ave. Santa Monica Blvd. Slauson Ave. Sunset Blvd. Temple Valley Blvd.

Vernon Ave. Venice Blvd. Washington Blvd. Whittier Blvd. Wilshire Blvd. Balboa Blvd. Beverly Glen Blvd. Cahuenga Blvd. Coldwater Canyon Ave.

Colorado Blvd. Foothill Blvd.

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1 Kommentar

  1. Zulurn

    Aller ist nicht so einfach, wie es scheint

  2. Dobar

    die Frage ist gelöscht

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