Finally revisited Mulholland Drive.
The first time I was frightened by the horror part, I couldn't distinguish it carefully, but the second time I saw a clear film structure: Betty became Diane, and when drinking coffee in Room 17, Cemilla's face changed as a boundary, and the front It is a dream, and the second half is the deconstruction and echo of the dream elements.
For the dream characteristics of the first half, the director gave a lot of clues and hints: the beginning of the psychedelic dance; the history of the world written by phone numbers; the very unlucky, almost cartoon-like killer; the almost cartoon-like mastermind behind the scenes The image, with its huge cheekbones and towering temples; the simple logic of revenge that the director is brought down by a stronger man and the stronger man is brought down by a stronger man; everything that happens in the Theater of Silence; most notably Betty and Rita as individuals In the first half, there is always a weird feeling of dislocation between the strong and weak relationship between the two people and their hair color and clothing. In fact, Betty, the weakest in the canon, has always had her own career soaring and helping others — hints that keen fans should get.
In Betty's ingenious turn into Diane, the first heroine's acting skills are clearly layered, showing Oscar-level acting skills. The heroine changed from a fashionable young girl who was unnaturally thriving and full of hope in a dream, and was carefully packaged, to a girl who was a little gloomy after waking up, living a somewhat down-to-earth life at first glance, and went crazy from love to hate. The camera and lighting can even make her teeth yellow and her face a little out of shape, all screaming to remind the audience of her instincts about her transformation. But maybe because of her nationality and her status, she didn't even get an Oscar nomination.
Now I still like this movie, but I think the most powerful place is no longer its presentation of dreams, but the overall atmosphere constructed by combining cult and dream. Maybe the representation of the dream isn't quite as polished - but viewers intimidated by the cult temperament will instinctively feel that it shows the essence of dreaming, which is emotionality - in such a false, cartoonish way to show one's best The desire for something, this utterly candid desire is shown naked, almost to the point of ludicrousness—its contrast to reality is so brutal. The audience sees that even in the happiest dream moment, the fact that Diane's love and hate buys and kills is constantly echoing deep in her subconscious, stacks of money, more luxurious blue keys, Mulholland Dao, these images kept flashing back, and even the name of the cafe waitress she saw when she bought the murder and murdered became her own name. Diane's effort in the dream was so useless, and she constructed it all so brilliantly—an effort so naive and childish that it dissolved in the hallucinations of the nightmare part. At the end of the film is the prosperous and glorious night scene of LA, and the innocent, ignorant and confident face of Diane who won the prize in the dance competition at the beginning, which made the audience, like me, have some shallow pity. But I guess the nature of the movie isn't showing mercy, its theme is still the cult itself.
I am reminded of "Love June Flowers". That film, like this one, had two wonderful cast of heroines.
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