The plot of "Mulholland Drive" can say "what I saw was not what I wanted to see." It has a dreamlike quality, trying to reproduce the unconscious reality, but the reality of the film may not yet appear, and may never be. Dreams emerge as some kind of representational system that seeks to conceal their truth and meaning in order to discover the content and meaning of aspirations and childhood or traumatic memories that lie beneath them. Some people divide the character transposition throughout the film into two lines, like the two presentation parts of the music: the first two-thirds of the plot is the "dream" part, and the last third of the plot is the "reality" part. From Fantasy Department to Reality Department: Although the characters' names and identities have changed, the two clues still coincide. It's just that this coincidence is not that the latter continues the development track of the former, but the opposite - the two clues of the reality part and the two clues of the dream part run in opposite directions. The main line is all love: in the fantasy part, Betty and Rita end up as lovers; in the real part, Diane is finally abandoned by Camilla. The secondary line is acting: Betty in the fantasy part is a promising rookie with a promising future; Diane in the reality part is a failed career and a broken ideal. Under this analysis, the main content of the whole film seems to be clarified: Diane is in a desperate situation in both career and love. balance and comfort. The director set up two clues that are difficult to understand, and completely subverted the two clues unexpectedly halfway through. The reason why Diane had this dream is that she has deeply realized the gap between dream and reality. At that time, she, like Betty, set foot on the dream land of Hollywood with the dream of stardom, but how cruel the reality gave her-Hollywood is a place full of money, pornography, deception and transactions. Murder and betrayal hide in the beautiful night of Hollywood. The recurring panoramic shots of downtown Los Angeles are, without exception, shot from a large angle, like an abyss that never ends, making all dreams never come to an end.
The analysis of dreams in this film is also a specious fog in this film. Like schizophrenia, sometimes quiet, sometimes lively, sometimes peaceful, sometimes sinister, there are almost no rules to follow. For example, a young man told a middle-aged man about a nightmare he had of seeing a mysterious and eccentric person at the bend of a fence. As a result, he really saw the mysterious weirdo in the same place, and was so frightened that he fainted on the spot. In fact, what he saw was a beggar. Freud's reality of the unconscious and desire, with the help of dreams, desires and unconscious impulses, constructs an illusion that fits the film. Evidently, the young man occurs in the day remnants of daydreaming, and the remnants of day experiences and dream thinking are transformed into dreams through dream work. In dreams, when the censorship mechanism of the superego is relatively relaxed, childhood memories, traumatic situations, together with bodily stimuli and fragments of daytime experiences, become dreams through dream work. In dreams, we obtain the satisfaction of our wishes , our unfulfilled wishes in real life and unobtainable satisfaction are realized and obtained in dreams. At the end of the film, the beggar picks up the blue box that Betty and Rita had. Diane's dead aunt and his wife crawled out of the box, and they groped Diane, forcing her to take out a pistol. Sin and death symbolized by beggars and blue boxes exist not only in dreams but also in reality.
"Mulholland Drive" is a "freak" of structure - its entire dramatic structure is closed, and the fate of the main characters is basically explained, but it completely destroys the "closed structure" in the layout of the plot narrative logic. In the words of director David Lynch: "Audiences are so spoiled by the simple logic of Hollywood that they should try to use their brains, trust their own feelings and not go for standard answers. This is a story about love, secrets and Hollywood The story of the dream." The insinuation of the story is self-evident, the so-called dream-making place is only the prosperity of a few people and the depression of the majority, everything is manipulated in the hands of the producers who have money, and the dream is destroyed. The reality is very cruel.
In the end, the author just wants to sum up: the world is originally painful, even if you pursue happiness, after happiness, it is still painful, but dreams are eternal happiness.
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