This is a movie that must be watched more than twice, directed by David Lynch.
So, what is the truth?
(The following is a strong spoiler, be careful.)
Part.1
The heroine A who failed on the road of Hollywood acting saw her homosexual B turned into a turmoil and got involved with the director C. She was extremely desperate to hire a killer to kill her. B, and fell into deep fear and guilt afterwards. In order to escape this fucking reality, she fell on the bed and had a dream.
Part.2
In the dream, her paranoid subconscious disrupted and reorganized all the elements in reality (time, place, characters, events, logical relations, etc.), forcibly recreating a fantasy world that seems reasonable but far-fetched. . In this virtual reality, she tries to change her acting destiny and hopes to have a positive and good ending with her gay person B. However, more and more clues in the virtual world showed her that dreams are not real after all, and as the complexity increases, all logics are about to collapse. After a weird magical performance, she found the key to the black box of memory and irretrievably fell into reality.
Part.3
dream finally woke up, heroine A realized that she still couldn't change this fucking world after all, so she committed suicide with a gun.
----------Gorgeous dividing line-----------The great thing about
David Lynch is that he didn't use the routine Part.1>2>3. The narrative is in order, but the non-linear way of Part.2>1>3 is used to tell the story. This is not only the reason why most people don't understand it for the first time, but also the crowning point of this film becoming a dream classic.
The focus of the film is the director's intention. David Lynch does not want to rely on the appeal of the story to impress people. His real purpose is to make the audience feel a switch of viewpoint/position, and obtain a kind of self-introspection from this subversive switch. Unique experience.
The switching time occurred at approximately 1 hour and 55 minutes (157 minutes for the entire D9 film). In the first two hours, the audience was immersed in the adventures of the two women with a high degree of subjective substitution-although more and more clues showed that "the world is not right" and caused anxiety The feeling of ——Until the dream is broken, the heroine falls back to the cold and cruel reality, and the audience also switches to the pure bystander viewpoint/stance. Before many unreasonable details are connected and explained, it suddenly dawns on "Oh It turns out that this is a dream."
This creative narrative structure makes this movie not a string of traditional linear storyboards, but more like a set of non-linear intellectual toys like puzzles and Rubik's cubes. The director scattered all the plot clues randomly and disorderly in the 2-hour dream, and gave the truth and answers concisely and powerfully in the last 30 minutes, and then pushed to the final ending. In this way, the director successfully allowed the audience to simulate a sleepwalking in the first 2 hours, and used a set of pseudo-logics to allow the audience to constantly discover the traces of the dream in their dreams, deriving a logically conflicting excitement-and at the end The logic of the dream was falsified within 30 minutes-this falsification was carried out by the director and the audience together, rather than simply instilled.
This method of constructing a world view achieves a transcendence of drama conflicts—traditional drama pays attention to the conflicts between people and things, which are metaphysical and visible; but movies like "Mulholland" However, the core drama conflict is metaphysical. It is a conflict between two "worlds." The audience needs to differentiate between two different worldviews (real/illusory) in intangible thinking, and finally make it together with the director. The verdict of authenticity.
To judge whether a singer is falsely singing, just push the ta down on the spot, and then listen to see if the sound is still going on. What "Mulholland Road" tells us is that it's actually that simple.
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