In fact, what "Mulholland Road" brings to people is definitely not blindly dull and boring, the kind of fear and anxiety covered with doubts is hard to express. It is not only different from the morbid excitement that the ordinary plasma films in the European and American horror film markets bring to the public, but also incompatible with the hairy cold feeling of the supernatural films produced in the Asian region; on the contrary, it is very picky. With a wonderful sense of identity, only the right people will be poisoned by it, and the wrong people will only denounce this as a bad film that has sold out and has no theme.
People who have a contract with this film watch this film once like watching a thunderstorm at the turn of spring and summer. As the film began, dark clouds of doubt slowly gathered and piled up, and the first few seemingly unrelated plots were turned into a cloud of doubt by dull music, layered on top of each other, squeezed to the point of breathlessness, and the audience We just don’t know where is the climax, when the rain will come, and we can’t help but whisper, "Who is the protagonist?" "Where are so many irrelevant scenes?" Until the last moment, it seemed crazy. The protagonist Diana screamed and shot herself suicide. Those who were worried about when the "dark clouds" broke out in an instant, turned into a piercing thunder, everyone was sitting in danger without squinting—it seems There really was a heavy rain—in the room where Diana committed suicide, a large number of clouds and looming electric lights suddenly filled the entire space. The face of the beggar who looked like a devil appeared above the clouds, and the rain of fear suddenly erupted and hit it. A cold hair straightened up the back of the person; coupled with the faint sigh of the weird woman mentioned above, it was like a patter of light rain, the slivers of spring rain came into people’s hearts like a face, seemingly gentle but it made people feel cold, but It also makes people unbearable to reject the joyful feeling that this piercing cold brings to people.
The deeper and deeper doubts and fears in this kind of feeling always make people feel unsatisfied and refreshing, so many "Mu fans" put forward various opinions and possibilities. "Mulholland Road" is like a decryption game, although the film is there, whether it is watched by a thousand people or watched by 10,000 people, there is no change in the content, but it left nothing in the two and a half hours of screening time. There are clues everywhere. Through the selection, connection and piecing of clues, people can get a variety of answers. Therefore, the plot of the movie is completely different: everyone agrees that there is a dream hidden in the movie, but no one knows where it is. The beginning of the dream, where is the end of the dream, and even whose dream it is, are different opinions. Various ways of understanding make the film have different connotations.
a thousand reader with a thousand hamurate. But as far as I am concerned, the statement I most agree with is also the common view of most fans: the first three quarters of the film are all real Diana's dreams, and this part of the plot is all Diana's dreams. The situation in reality is like this. Diana (betty in the dream) and Camilla (Rita in the dream) were once a pair of actors who had a homosexual relationship and worked hard together. Later, Camilla was in The acting career is getting better and better, emotionally betraying Diana's preparation to marry a young and promising director Adam, while Diana is doing nothing. Sora has career expectations and a fascination with Camilla. After arguing with Camilla to no avail and receiving news that she was about to get married, Diana hired a murderer in a fit of anger, and agreed with the killer to obtain proof of killing Camilla in the hands of a beggar. After Camilla’s death, Diana finally suffered a nervous breakdown under the torture of various pressures and guilt. Zhaizi, Diana turned into Betty with a perfect image, unlucky killer murder, unlucky director encountered a bunch of unlucky things, etc.) can not bear conscience condemned to shoot suicide.
In other words, the scope of the dream is set from the beginning of the film to the period after the protagonist opens the box, that is, the part where Diana wakes up in the dilapidated room. The film narrates that a dream should be unquestionable. After all, the contrast between the front and back is so different that the names of the two protagonists are different; from the details, the mysterious blue key has also changed its shape-the main body of the key in the dream is one A strangely shaped triangular prism, while the real part is an ordinary key. At the same time, Mengjing said that it can perfectly connect the seemingly headless pontines in the first part of the film and give a reasonable explanation.
Dreams can be used to explain many things. To add a digression, I am a person who can dream very well, and I can even say that I am extremely experienced in such things as dreaming. To give an example, I can also make a dream like a movie that is pieced together from many plots, and sometimes I can clearly feel in the dream that my dominant thinking can affect the changes around me, and sometimes this happens: I Able to clearly realize that I am in a dream and urge myself to wake up. After a period of time after "waking up", I find that this is still a dream, so I force myself to wake up again, but enter a fake dream again, five or six times in a row. The miracle that didn't wake up until really exhausted was simply the realistic version of the dreaming theory in Inception. Having said so much, I hope to add some realistic foundation to the dreaming part of the previous film commentary-if you have to carry out the theory, Freud's "Dream Analysis" will come in handy. Freund believes that dreams are a collection of suppressed desires and disguised satisfactions, which fit the plot of "Mulholland Road" perfectly. We tried to infer, what was Diana's mood before having this dream? Yes, she is guilty and regretful. She doesn’t want to believe that the one she loves has been killed by her own fingers, but she still loves and hates Camilla. She doesn’t know how to choose. She can only change everything in a dream. To escape the hunt of such terrible emotions, she can dominate everything and change everything only in a dream. As a result, Diana in the dream (betty, the source of the name is also very interesting, it is the name of the waiter in the restaurant when she bought the murderer, she accidentally caught a glimpse when she bought the murderer) turned into an ideal perfect image, she was youthful and beautiful , Lively and cheerful, helpful, even possessing some of the advantages that Camilla envied her in reality, letting her start all over again; and turning Camilla into a weak and helpless person who has forgotten everything and even has to rely on herself to survive Rita (this is Diana’s most urgent desire); in order to conceal the truth of her murder, she alienated the movie oligarch in her dream as the murderer of Camilla; let the director suffer in her dream because he caused The direct reason Camilla left herself; wait. These examples are too numerous to list, so I won't list them one by one, but they all illustrate the truth and rationality of the existence of dreams.
The audience's appreciation enthusiasm is incited by these conjectures. Maybe not everyone can fully understand it the first time, but after deliberation and repeated viewing afterwards, I believe everyone is enjoying the thrill of success in reasoning. Just like the popular mystery novels and decryption games nowadays, the cunning director David Lynch lays out a grand dream, leaving behind a mess of clues, bit by bit to whet people’s appetite, the more speculation, the more The more people want to stop.
The part I personally appreciate most is the dream of Betty and Rita coming to the Spanish Opera. This is simply a stroke of magic. It not only answers part of the doubts in advance in an extremely obscure way, but also pave the way for this kind of puzzles, and very naturally connects the fragments of the later dreams.
To be honest, the appearance of the opera house is extremely abrupt. We can analyze the previous scenes through the real part of the latter, but for this paragraph, the real part is not mentioned. This made me puzzled at the beginning, especially since this paragraph also undertook a very important task: connecting the previous and the next. In this scene, the mysterious blue box suddenly appeared, causing the two to open after returning. The "Pandora's Box" opened, and the movie entered the cruel reality part, where the transition between dream and reality appeared. When we were learning composition in elementary school, the teacher had repeatedly emphasized the concept of linking up and down. A composition that succeeds in failure is a failed work, and the same is true for movies. Director David will certainly not make such a low-level mistake, so why is this one arranged?
The reason is simple. This is the natural continuation of dream events. I believe that everyone who has dreamed has the same experience: the scene switching of each dream must not be unreasonable, and there must be a familiar object or event or character or environment as the connection of the next dream theme. point. In their dreams, they had just expressed their love for each other before they came here and officially became homosexuals. It was just like a sweet period of glue. Diana, the leader of the dreams, would not and could not suddenly construct a strange and never-before-seen one in the dream. The place, this place must be familiar to the two of them, so I infer that this theater is a place often cared by Diana and Camilla in reality, and it carries their beautiful memories.
Moreover, we can easily see in the next opera house performance that the theme of the performance is "Everything is an illusion." The men on the stage kept emphasizing "it's no band"-there is no band here, but if you want to listen, you can hear the sound of the instruments playing in the band. The whole performance implies that this is a dream of nothingness, there is nothing here, but as long as you want, you can construct the plot you want. "It's all a tape" (this is all recording)-these are all scheduled plots. "It's an illusion"-this is all an illusion! Betty realized that something was wrong began to twitch in fear. Everything is too beautiful: Diana in the dream is Betty’s career is about to succeed, and there is an uncle and aunt who loves her, and now even Camilla, Rita, has established a relationship with her and is almost inseparable from her. Excessive smoothness made the dream leader instinctively uneasy. Diana, who was dreaming, felt that something was wrong in her subconsciousness-the unintentional corpse found in the previous dream reminded her that Camilla was dead! The singer in the theater began to sing a Spanish song called "La Llorona de Los Angeles". With my half-hearted English proficiency and the meaning of the lyrics that I barely understand with Chinese and English subtitles, this song tells the story of two people falling in love and one person departing. This has already begun to reveal the feelings of the two in the real world. The status quo. These secret transitions started quietly in the opera house, and I calmly laid the groundwork for waking up from the dream. After trying to figure out some taste, I had to admire David greatly.
The film also has a very exciting place, that is its title. Like the problem of "connecting the past and the next" mentioned earlier, a good topic plays a vital role in any work. But why does such a wonderful movie have such a seemingly unmarginal name? At first, I thought it was the result of language translation or the director’s trouble, so I gave a name that was painless to deal with consumers, but after watching the movie carefully, I now have a new perspective.
Mulholland Road almost represents the cause of the entire incident. The director's intention is here: the car accident in the dream at the beginning of the movie was on Mulholland Road; and the wedding scene that caused all the tragedies and the intensification of the contradictions in reality was also on Mulholland Road. At the same time, we can also find that the place where Diana is going to go to the wedding site and the place where the car accident happened should be the same place, because there happens to be a small road, that is, Camilla greets Diana's "shortcut", and even Both of them said exactly the same thing when parking: "What are you doing? We don't stop here!" (Phone) The only difference is that in reality, the two of them walked up towards the wedding scene with laughter hand in hand, while Diana, who dominated Rita's consciousness in the dream, was fleeing downward. Obviously this trail is of great significance. This is the last sweet journey the two have completed holding hands. From then on, the two will be like two intersecting straight lines and there will be no intersection; only by returning from this road can there be hope of returning to the past— -This makes it so natural for Diana to control Rita in her dream and flee down this road to welcome her new life. From another perspective, Camilla’s "shortcut" and the previous kiss scene between Camilla and director Adam may not have nothing to do with its popularity. We can even infer that David arranged Camilla here. The meaning of the word "shortcut" in a colorful and charming manner: Camilla does not fall in love with Adam naturally, but a premeditated seduce-we can confirm by pushing to the front the scene of Diana auditioning in the dreamland-she The script is to seduce men-even conquered everyone with this performance. Combining all the above, this path, which also symbolizes loyalty and betrayal, nostalgia and farewell, despair and hope, should be the true intention of director David, and it is the real "Muholland Road" in Mulholland Road.
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