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In Reply to: Nice. Must be that pharmacy training. posted by free.ranger on August 14, 2016 at 13:35:26:
Dreams and alternative realities Edit
An early interpretation of the film uses dream analysis to explain that the first part is a dream of the real Diane Selwyn, who has cast her dream-self as the innocent and hopeful "Betty Elms", reconstructing her history and persona into something like an old Hollywood film. In the dream, Betty is successful, charming, and lives the fantasy life of a soon-to-be-famous actress. The last one-fifth of the film presents Diane's real life, in which she has failed both personally and professionally. She arranges for Camilla, an ex-lover, to be killed, and unable to cope with the guilt, re-imagines her as the dependent, pliable amnesiac Rita. Clues to her inevitable demise, however, continue to appear throughout her dream.[21]
This interpretation was similar to what Naomi Watts construed, when she said in an interview, "I thought Diane was the real character and that Betty was the person she wanted to be and had dreamed up. Rita is the damsel in distress and she's in absolute need of Betty, and Betty controls her as if she were a doll. Rita is Betty's fantasy of who she wants Camilla to be."[18] Watts' own early experiences in Hollywood parallel those of Diane's. She endured some professional frustration before she became successful, auditioned for parts in which she did not believe, and encountered people who did not follow through with opportunities. She recalled, "There were a lot of promises, but nothing actually came off. I ran out of money and became quite lonely."[22]
The Guardian asked six well-known film critics for their own perceptions of the overall meaning in Mulholland Drive. Neil Roberts of The Sun and Tom Charity of Time Out subscribe to the theory that Betty is Diane's projection of a happier life. Roger Ebert and Jonathan Ross seem to accept this interpretation, but both hesitate to overanalyze the movie. Ebert states, "There is no explanation. There may not even be a mystery." Ross observes that there are storylines that go nowhere: "Perhaps these were leftovers from the pilot it was originally intended to be, or perhaps these things are the non-sequiturs and subconscious of dreams."[23] Philip French from The Observer sees it as an allusion to Hollywood tragedy, while Jane Douglas from the BBC rejects the theory of Betty's life as Diane's dream, but also warns against too much analysis.[23]
Another theory offered is that the narrative is a Möbius strip, a twisted band that has no beginning and no end.[24] In another interpretation Betty and Rita and Diane and Camilla may exist in parallel universes that sometimes interconnect. Or the entire film is a dream, but whose dream is unknown.[25] Repeated references to beds, bedrooms and sleeping symbolize the heavy influence of dreams. Rita falls asleep several times; in between these episodes, disconnected scenes such as the men having a conversation at Winkies, Betty's arrival in Los Angeles and the bungled hit take place, suggesting that Rita may be dreaming them. The opening shot of the film zooms into a bed containing an unknown sleeper, instilling, according to film scholar Ruth Perlmutter, the necessity to ask if what follows is reality.[26] Professor of dream studies Kelly Bulkeley argues that the early scene at the diner, as the only one in which dreams or dreaming are explicitly mentioned, illustrates "revelatory truth and epistemological uncertainty in Lynch's film".[27] The monstrous being from the dream, who is the subject of conversation of the men in Winkies, reappears at the end of the movie right before and after Diane commits suicide. Bulkeley asserts that the lone discussion of dreams in that scene presents an opening to "a new way of understanding everything that happens in the movie".[27]
Philosopher and film theorist Robert Sinnerbrink similarly notes that the images following Diane's apparent suicide undermine the "dream and reality" interpretation. After Diane shoots herself, the bed is consumed with smoke and Betty and Rita are shown beaming at each other, after which a woman in the Club Silencio balcony whispers "Silencio" as the screen fades to black. Sinnerbrink writes that the "concluding images float in an indeterminate zone between fantasy and reality, which is perhaps the genuinely metaphysical dimension of the cinematic image", also noting that it might be that the "last sequence comprises the fantasy images of Diane's dying consciousness, concluding with the real moment of her death: the final Silencio".[28] Referring to the same sequence, film theorist Andrew Hageman notes that "the ninety-second coda that follows Betty/Diane's suicide is a cinematic space that persists after the curtain has dropped on her living consciousness, and this persistent space is the very theatre where the illusion of illusion is continually unmasked".[29]
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Follow Ups
- Some analysis from Wikipedia - geoffkait 14:58:55 08/14/16 (2)
- Not exactly "in a sentence or two" though... (nt - genungo 16:23:23 08/14/16 (0)
- Thanks Geoff. nt - free.ranger 15:09:13 08/14/16 (0)
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