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MULHOLLAND DRIVE (LYNCH)

Finally, finally, finally ...

Since the time I promise I'm going to start, here I finally decided to talk a little bit of this UFO total, in which I have started to identify that from fourth or fifth viewing, and from which Lost Highway could almost pass as the paragon of classicism absolutely wild, lol!

So good. Far be it from me to engage in any analysis, not only because Lynch, like Kubrick, hate it on principle, but because someone has done before me well, much better, and shot by shot, and more (warning, site not to visit if you do not like spoilers)!

I will rather confine myself to addressing certain issues, some "ticks" of the author (because all the "majors" have, from Beethoven to Bacon through Cronenberg), some images "shocks" such as the latter, a typical example of what fans rightly called the "magic" Lynch, that a simple Plan on a panel at night that anyone else would be totally insignificant, and from him (thanks to its mix, he still wants to supervise) just chilling, as well as the famous shots Fugitive on forests Twin Peaks :

course, of "mixing sounds" to "red herring", there was only one step, that Lynch 's is of course cheerfully eager to cross into the DVD cover, which I would bet that three quarters of the so-called "tracks" that is supposed to offer us, are actually decoys:

If not, perhaps, the first two, when in fact, even before the credits start, this game of shadows and lights on either side of the screen, and the vision completely fantasy of heroine through her parents / aunts / uncles (?), lets hope for the already central theme of the last three films of the master, schizophrenia

So Certainly, I could try to summarize the overall fabric of the film (almost impossible task, except for the brave author of the site I mentioned above), starting with the founder monstrous accident - which by itself is already a kind of formal collusion abyss of personalities that schizophrenia involves:

But all this has been done before and much better than me, I prefer to concentrate on some parallel scenes like this:

One example among many Lynch's talent as a director of actors (and yet, he is deemed not to put them under pressure, precisely): two simple little grin, and it already feels that everyone is scared to death (including the viewer)!

Rightly, however, besides the symbolic importance of the circuit spire (which I found very recently in the final scene of the sublime Collateral Michael Mann, with similar implications):

Another recurrent feature in Lynch: These characters amorphous, infirm or faceless, their improbable that apartments seem to pull all the strings of a perfectly cold and enigmatic. One thinks immediately of course to Sailor and Lula where this aspect is very present, but perhaps even more famous for "Blackroom" and "redroom" from Twin Peaks :

course, one of the stories (and problems) of the main movie, is that even in politics, not everyone is of course a one thing, putting her ass in the best possible world:

With all the compromises that that implies (note, for the record, the actor left, Angelo Badalamenti - the regular composer for Lynch since the early days - was apparently "excited like a chip" to the simple idea of playing a "real" role in one of his films, XD!):

"This is the girl!

But what key do I need to, just be "The Girl"??

Here, I'm nice to you (I think) ... For one of these keys is precisely: "I do not know who I am" (and for good reason) ...

Petit interlude (as in Twin Peaks or Sailor and Lula ): Lynch knows all about us relax even five minutes with some scenes to piss of laughter, like the one where the director surprises his wife with the pool cleaner, and find nothing better than to avenge scribble all her jewelry in pink, géantissime!

But of course (you know the gentleman, lol!) Is back to jump further, with the night scene in "Coral" with the blood curdling, despite appearances

NO WAY OUT: "This Is The Girl"!

And I'm not the only one saying:

"This Is The Girl"! ... Or "This Was The Girl" or "This Will Be The Girl"! ... Who knows?

Casually, he is one of the key scenes of the film: when the brunette takes the blonde wig, in a sort of mid-act mid-narcissistic homosexual totally fantastical, but very heavy with meaning ... And here I must confess to my great shame that it's time battery completely accurate when I "won" the first vision of the film, in spite launched me on a very discursive perspective altogether and even - say it - partly Hollywood, which after an hour bifurcates at once on something totally "blocked (he must say things as they are)! But this was not due from Lynch for putting the dots on "I" at this point:

And here .. . It was one of the keys. Now if you have not yet seen the film, and wish you keep intact all the mystery of the thing, stop immediately read me because everything that follows will be a big spoiler (friendly advice !)

There is no story, yet it understands the ...

There is no author, yet there a ...

There is no actress, and yet there is one ...

Etc, etc. ... Especially during this sequence of shot / reverse particularly trying, through which the only magic of cinema, we realize that this poor girl completely lost, as his quest for glory is huge Hollywood, does that finally talk to itself in a desperate absolutely boundless (sublime and very moving Naomi Watts):

Without even talk about this scene even more unbelievable (warning, parental control is not enabled on this blog, Well then, take your responsibilities): the one where Naomi Watts is doing fantasy love with his "double":

And that is actually be a scene from "handjob" particularly painful and traumatic (again, not to put before all the eyes!):

During which proved at once (and probably for Lynch, one way quite cathartic) much from the movie Clue:

- Who's who?

- Who lives, who died?

- who prefer suicide to a life of shit, especially to a life without glory?

"Very often during of our existence, we see our dreams disappointed and desires frustrated, but we must continue to dream, otherwise our soul dies " (Paolo Coelho) . But here we must admit that it's still very bad beginning for this poor child, what ...

short! A masterpiece, certainly, but a masterpiece very difficult, at least at first sight ... But after all, not a scoop, it is exactly the same with the Ulysses of Joyce, the Beethoven Diabelli or Art of Fugue by Johann Sebastian Bach ... Creations "monstrous" that defy almost all understanding 'terrestrial', which are so large they can be more than enough to feed our spirit not only a lifetime, but even a second or third (assuming we have a ) ...

As I think I already said in these pages, if any (single) advantage to aging, I think that's it, the unique power, by dint of practice and experience, able to penetrate - I would not say "more easily," but say "less difficult" - puzzles like these ...

And little PS for the road: I'm persistent, I have "food on the table", as they say, because at the moment, I saw only once Inland Empire (the last of that David Lynch), and to put it frankly: I still do not understand ... ABSOLUTELY And when I say nothing, it's really nothing from nothing ", what!

Anyway. I only saw him once (which discouraged me), but I absolutely have to try again, what (3h, anyway) ...

I'll keep you posted ...