DAVID LYNCH
COMING SOON - ANOTHER MIND BLOWING ADDITION TO DEEP CINEMA
"PERSONA" IS ANOTHER JUST WATCHED MASTERPIECE ... COMING SOON TO DEEP CINEMA
(I AM GOING TO "RIP-APART" MAINSTREAM THEORY ON THIS FILM WHEN I FIND THE TIME TO RE-WATCH AND ANALYZE IT ...
FILM CRITICS ARE GOING TO HAVE TO UP THE PRICE ON MY HEAD!)
PERSONA is about an anguished woman trying to make the biggest decision of her life ABORTION - confronting her future self for answers - a masterpiece
PERSONA is about abortion ... the film screams "ABORTION" if you look ...
Bergman's stunning masterpiece gives up it's secret ...
(THE TRUTH ALWAYS COMES OUT EVENTUALLY ...
FACTS ARE HARD TO BEAT)
"IT'S TIME TO WAKE UP"
FILM CRITICS HAVEN'T MANAGED TO GRASP
WHAT "MULHOLLAND DRIVE" IS REALLY ABOUT
IN OVER SIXTEEN YEARS ...
THE CHALLENGE IS ... WILL YOU?
PLISSKEN BOON TAKES YOU DOWN
"CHALLENGER DEEP"
DISCLAIMER
THIS BLOG WILL CHANGE THE WAY YOU WATCH MOVIES
(IT WOULD BE A MISTAKE TO THINK I MAKE THIS COMMENT LIGHTLY - OR THINK I'M JOKING)
THINK OF ALL SIX OF THESE MIND-BENDING MOVIES ... AS "ICEBERGS" - TWO THIRDS HIDDEN BENEATH THE SURFACE
THE GERMAN ENIGMA MACHINES WERE CRACKED BY GETTING INSIDE THE MINDS OF THE OPERATORS
TO UNDERSTAND THESE FILMS ... YOU HAVE TO GET "INSIDE" THE MIND OF THE DIRECTOR
UP TILL NOW, AT LEAST IN RESPECT OF DAVID LYNCH, PEOPLE HAVE THOUGHT THAT THIS WAS IMPOSSIBLE ... AND HAVE COME UP WITH ALL SORTS OF SUBJECTIVE THEORIES ABOUT THESE FILMS
THE TRUTH IS ... NO ONE REALLY TRIED TO FIND THE KEY TO RATIONALLY AND OBJECTIVELY DECODE THESE DEEP AND INGENIOUS PUZZLES
THE KEY TO DECODE THE TRUE GENIUS HIDDEN IN ALL SIX OF THESE EXTREMELY CLEVER, INTRIGUING MOVIES ... IS THE ART OF SCREENWRITING
ONE DAY ... THE WORLD WILL "GET IT"
TODAY ... IS THE DAY ...
YOU CHOOSE ...
THIS BLOG IS BROUGHT TO YOU BY THE:
"SO SICK OF READING RIDICULOUS DRIVEL ABOUT DAVID LYNCH FILMS" SOCIETY
(AN EXAMPLE: http://sensesofcinema.com/2013/feature-articles/in-dreams-and-imagination-surrealist-values-in-mulholland-dr-and-inland-empire/)
WHEN A FILM IS DESCRIBED AS "SURREAL" - "DREAMY" - OR "ART" ...
IT GENERALLY TRANSLATES TO:
"I HAVEN'T GOT A CLUE WHAT THIS MOVIE IS ABOUT ... BUT THAT'S NOT GOING TO STOP ME WRITING SOME HORRENDOUSLY PRETENTIOUS DRIVEL ABOUT IT PRETENDING I DO"
(WHEN YOU WRITE "DRIVEL" ... YOU RUN THE RISK ... THAT ONE DAY IN THE FUTURE ... IT WILL BE EXPOSED AS "DRIVEL" ... AND BITE YOU ON THE ARSE)
RULES OF "DEEP CINEMA"
(AND YES ... AT TIMES ... IT HAS BEEN "FIGHT CLUB")
RULE 1) NEVER WRITE DRIVEL
RULE 2) NEVER WRITE DRIVEL
RULE 3) NEVER WRITE DRIVEL
SPOILER ALERT
THIS BLOG IS FOR PEOPLE WHO WANT RATIONAL, OBJECTIVE EVIDENCE BASED ANSWERS, NOT SUBJECTIVE THEORIES AND FLOWERY DRIVEL - EVERYTHING IN THIS BLOG IS BACKED UP BY CONCLUSIVE EVIDENCE IN MY FULL DETAILED ANALYSIS
JUST LIKE DAVID LYNCH, I DON'T RECOMMEND YOU TRY TO VIEW THIS ON YOUR CELLPHONE
SIX OF THE CLEVEREST MOVIES IN HISTORY
(MULHOLLAND DRIVE - LOST HIGHWAY - INLAND EMPIRE
THE PRESTIGE - BIRDMAN - ENEMY)
COMPLETELY DECODED
THE ANSWERS ARE HERE ... AND THEY WILL ...TAKE YOUR BREATH AWAY
THERE IS NO ADVERTISING HERE ... NO CLICKBAIT ... JUST RATIONAL, FACT-BASED ANSWERS THAT WERE HIDDEN IN ELUSIVE, TWISTED DIMENSIONS WITHIN THESE INTRIGUING, MIND-BENDING FILMS ... UNSEEN, UNIMAGINED, IMPENETRABLE VAULTS HAVE NOW BEEN CRACKED OPEN ...
... IF YOU WANT TO KNOW WHAT THESE FILMS ARE REALLY ABOUT ... STEP OUT OF YOUR COMFORT ZONES ... WIPE PREVIOUS CONCEPTIONS ABOUT THESE FILMS FROM YOUR MINDS ... AND COME IN AND TAKE A LOOK ...
THE REAL GENIUS HIDDEN BENEATH THE SURFACE IN THESE FILMS WILL ASTOUND YOU ... YOU WILL REALIZE THE SIGNIFICANCE OF NOLAN'S WORDS ... "ARE YOU WATCHING CLOSELY?"
AFTER READING THIS BLOG ... YOU WILL NEVER FORGET THEM ...
PETABYTES OF FLOWERY SUBJECTIVE DRIVEL ABOUT THESE FILMS IS SLOWLY BUT SURELY BEING REMOVED FROM ALL OVER THE INTERNET - LIKE THE RECENT BOOK ABOUT LYNCH FILMS THAT WAS QUIETLY PULLED FROM DISTRIBUTION
THIS BLOG IS STARTING TO MAKE A DIFFERENCE
RATIONAL AND OBJECTIVE ANALYSIS OF THESE DEEP AND INGENIOUS MASTERPIECES
(YOU CAN READ MY FEEDBACK BELOW)
(I'M NOT MUCH OF A BLOGGER - BUT I'M NOT TOO BAD AT ANALYZING FILM
THESE FILMS ARE VERY DEEP
OVERRIDE ALL YOUR PREVIOUS ASSUMPTIONS
(READ: BRAINWASHING BY THE "STATUS QUO")
FULLY UNDERSTANDING THESE FILMS TAKES COMMITMENT
BUT THE END RESULT ... WILL BLOW YOUR MIND)
FOR INSTANCE:
MIND BLOW NUMBER ONE:
YOU NEVER ACTUALLY SEE AUNT RUTH IN
"MULHOLLAND DRIVE"
"MULHOLLAND DRIVE" IS GOING TO
ABSOLUTELY BLOW YOUR MIND
BUCKLE YOURSELF IN
EVERYTHING IS NOT AS IT SEEMS IN
"MULHOLLAND DRIVE"
BUT ONCE YOU GRASP IT'S CORE STRUCTURAL GENIUS ... YOU WILL BEGIN TO REALIZE THAT THERE IS NOTHING SUBJECTIVE ABOUT UNDERSTANDING IT - IT IS ALL COMPLETELY, OBJECTIVELY DECIPHERABLE
LYNCH HAS SIMPLY SET US A PUZZLE ... AND HAS SAT BACK WITH A TWINKLE IN HIS EYE ... TO SEE HOW LONG IT WOULD TAKE US TO SOLVE IT ...
THE CLOCK HAS NOW STOPPED
(IF YOU GET TO THE BOTTOM OF THIS PAGE ... YOU WILL AGREE)
THIS STILL IS ONE OF THE "LIGHT-BULBS" IN "MULHOLLAND DRIVE" - IF YOU SEE IT AGAIN - YOU WILL HAVE A RED PILL IN YOUR HAND - AND IF YOU GET AS FAR AS MULHOLLAND DRIVE'S BIG STRUCTURAL "SECRET" AND EXAMPLE SCENE BREAKDOWNS FURTHER DOWN ... YOU WILL BE REACHING FOR A GLASS OF WATER AS YOU SWALLOW IT ...
EVERYTHING IN "MULHOLLAND DRIVE" - INCLUDING THE BLUE BOX, LOUISE BONNER, EVEN THE DOG DROPPINGS - IS INCONTROVERTIBLY EXPLAINED IN MY FULL DETAILED ANALYSIS
(YOU MAY HAVE DOUBTS ... BUT JUST READ THE FEEDBACK AT THE BOTTOM OF THIS PAGE ... FROM PEOPLE WHO HAVE READ MY FULL ANALYSIS ... AND TAKE A LOOK AT THE AVERAGE IQ OF MY FOLLOWERS ON TWITTER ... PRODUCERS, DIRECTORS, FILM EDITORS, SCREENWRITERS, AUTHORS, FILM ACADEMICS ... PEOPLE WHO UNDERSTAND SCREENWRITING AND FILM ... BECAUSE THE KEY TO UNDERSTANDING ALL THESE MOVIES ...
IS SCREENWRITING)
GREAT SCREENWRITERS ... SAY SOMETHING ...
WITHOUT SAYING IT ...
ALL OF THESE FILMS TRICK YOU EMPIRICALLY
YOU NEED TO USE OBJECTIVE, RATIONAL SKILLS TO UNDERSTAND THEM
I CALL MY BLOG
"WATER FOR INTELLIGENT ELEPHANTS"
(IT'S NOT FOR HORSES - EMPIRICALLY FOCUSED THINKERS HAVE ALREADY LEFT AFTER I TOLD THEM YOU NEVER ACTUALLY SEE AUNT RUTH IN THE FILM (SURPRISINGLY, MANY JUST CAN'T GRASP THAT WHAT THEY THINK THEY SEE, IS JUST A VERY CLEVER ILLUSION) - RATIONAL ELEPHANTS WILL WANT TO KNOW JUST HOW LYNCH IS CLEVERLY DECEIVING THEM ... AND WHAT IS REALLY GOING ON)
(THE WOMAN YOU SEE LEAVING IN THE TAXI ... ISN'T AUNT RUTH ... YOU'RE JUST BEING (EXTREMELY CLEVERLY) TRICKED INTO BELIEVING IT'S AUNT RUTH (THERE IS INCONTROVERTIBLE PROOF THAT IT'S NOT AUNT RUTH - YOU NEED TO UNDERSTAND WHAT IS ACTUALLY GOING ON IN "MULHOLLAND DRIVE" BEFORE I REVEAL WHO IT ACTUALLY IS - REVEALING WHO IT IS NOW WOULD CONFUSE EVEN ELEPHANTS) ... AS I SAID ... "MULHOLLAND DRIVE" IS GOING TO ABSOLUTELY BLOW YOUR MIND ... IT IS, WITHOUT DOUBT, THE CLEVEREST FILM IN HISTORY ... IT'S JUST TAKING THE WORLD A WHILE TO WAKE UP TO THIS FACT ... 15 YEARS AND COUNTING)
ONCE PEOPLE GRASP THE STRUCTURAL "SECRET" BEHIND "MULHOLLAND DRIVE" (AND READ MY ANALYSIS OF INLAND EMPIRE) - THEY BEGIN TO REALIZE THAT I DO ACTUALLY KNOW WHAT I'M TALKING ABOUT
BUT AS I SAID EARLIER, UNDERSTANDING THESE COMPLEX, CLEVER MOVIES TAKES COMMITMENT - IT'S A "LEARNING CURVE" - DON'T BE DISMISSIVE OF ANY OF THE "FACTS" I PUT FORWARD - NO MATTER HOW OUTLANDISH THEY MAY INITIALLY APPEAR - THEY ALL COME TOGETHER LIKE A RUBIK'S CUBE ... THAT APPEARS CUBIC, BUT ACTUALLY TURNS INTO A WONDERFULLY TRANSLUCENT SPHERE AS YOU PROGRESS THROUGH SOLVING IT
("MULHOLLAND DRIVE" IS FAR BIGGER ... FAR BRIGHTER ... FAR GREATER ... THAN THE SUM OF IT'S PARTS)
I'M DELIBERATELY POSTING SOME OF THE MORE "SHOCKING" FACTS FIRST ... THERE IS NO WAY TO PUT THEM ALL IN A "CORRECT" EASY TO GRASP CHRONOLOGICAL ORDER, BECAUSE MANY OF THEM ARE DEPENDENT AND RELATED TO OTHER EQUALLY "SHOCKING" MIND-BLOWING FACTS ABOUT THE FILM
BUT IT WILL PROBABLY GET RID OF CLOSED-MINDED EMPIRICALLY FOCUSED PEOPLE, OR THOSE THAT AREN'T REALLY COMMITTED OR PATIENT ENOUGH TO TAKE THE TIME TO FULLY UNDERSTAND THIS DETAILED EXPLANATION OF "MULHOLLAND DRIVE"
IT HAS BECOME VERY OBVIOUS, THROUGH THE DEMOGRAPHIC OF THOSE FOLLOWING ME ON TWITTER ... THAT THIS EXPLANATION CERTAINLY ISN'T GRASPED BY EVERYBODY)
(REMEMBER - LYNCH FILMS ARE ALREADY "SHOCKING" - IN THE CASE OF "MULHOLLAND DRIVE" WE HAVE TWO ACTRESSES PLAYING ONE CHARACTER ... AND ONE ACTRESS PLAYING TWO CHARACTERS - THE SYMMETRY OF WHICH IS, IN ITSELF, AN EXTREMELY IMPORTANT CLUE TO SOLVING WHAT'S REALLY GOING ON IN THE FILM - AND CLUES ABOUND IN "MULHOLLAND DRIVE" - WHICH REALLY IS A MESSAGE DELIVERED AS A PUZZLE ... RATHER THAN A STORY DELIVERED AS A MOVIE)
THIS BLOG IS A SMALL EXCLUSIVE CLUB FOR RATIONAL THINKERS ... WHO WANT TO FULLY UNDERSTAND (AND MARVEL AT THE TRUE GENIUS HIDDEN IN) THESE MOVIES ...
I HAVE COME IN FOR AN INCREDIBLY SURPRISING AMOUNT OF VERY UNFAIR AND IRRATIONAL ABUSE FROM SOME VERY IGNORANT PEOPLE FOR POSTING THIS BLOG
(MORONS FROM ALL WALKS OF LIFE WHO SEEM TO NEED NO EXCUSE TO JUMP IN FEET FIRST WITHOUT ANY RATIONAL THOUGHT PROCESS WHATSOEVER)
BUT IT'S "THANK-YOU'S" LIKE THIS (AND EXTREMELY POSITIVE FEEDBACK ... SOME OF WHICH YOU CAN READ AT THE BOTTOM OF THIS PAGE) FROM PEOPLE WHO REALLY APPRECIATE MY BLOG ... THAT MAKES IT ALL WORTH WHILE ...
(THIS PAGE IS JUST AN INTRODUCTION AND SUMMARY - LINKS TO FULL DETAILED ANALYSIS FOR EACH FILM ARE ON THE RIGHT >>>)
I (STRONGLY) RECOMMEND YOU READ THIS INTRO FIRST - PARTICULARLY FOR MULHOLLAND DRIVE
MY ANALYSIS OF
"MULHOLLAND DRIVE"
"INLAND EMPIRE"
"LOST HIGHWAY"
WILL SHOCK THOSE OF YOU WHO HAVE BEEN BRAINWASHED BY TWO DECADES OF SUBJECTIVE DRIVEL ABOUT DAVID LYNCH FILMS
LYNCH DOESN'T DO DREAMS ... BUT HE DOES DO MOZART
"MULHOLLAND DRIVE"
MIND BLOW NUMBER TWO:
"MULHOLLAND DRIVE" IS ACTUALLY A VERY CLEVER SEQUEL TO
"SUNSET BOULEVARD"
(THE MIND BLOWING "SUNSET BOULEVARD" ELEMENTS (WHICH ARE FULLY DETAILED IN MY ANALYSIS) LYNCH HAS CLEVERLY WOVEN INTO
"MULHOLLAND DRIVE" ACTUALLY CONFIRM THIS)
WINKIE'S DINER - SILENCIO - PARAMOUNT - SOME OF THE MOST IMPORTANT SCENES IN "MULHOLLAND DRIVE" - ARE ALL INGENIOUSLY BASED ON "SUNSET BOULEVARD"
IT TURNS OUT ... THAT "MULHOLLAND DRIVE" IS ACTUALLY A SEQUEL TO "SUNSET BOULEVARD" - WHICH, OF COURSE, IS NO SURPRISE COMPARING THE TITLES ... BOTH FILMS DEPICTING THE DEVASTATING AFTER-EFFECTS, FOR SOME ACTORS, OF THE TRANSITION BETWEEN MOVIE ERAS
"SUNSET BOULEVARD" THE TRANSITION BETWEEN THE SILENT ERA AND TALKIES ... "MULHOLLAND DRIVE" THE TRANSITION FROM BLACK AND WHITE TALKIES TO COLOR
(LYNCH IS VERY CLEVERLY DISGUISING THE ERA "MULHOLLAND DRIVE" IS ACTUALLY SET IN)
"Within the illusion of Sunset Boulevard Wilder develops a real tragedy, the coming of sound"
Lynch does the same thing with Mulholland Drive - the underlying tragedy ... the coming of color
MIND BLOW NUMBER THREE:
THERE IS NO DREAM
LYNCH'S SUBLIME POISON PEN LETTER TO HOLLYWOOD
I CONSIDER THE CLEVEREST FILM IN HISTORY
"MULHOLLAND DRIVE" IS ABOUT THE DARK SIDE AND SHALLOWNESS OF HOLLYWOOD
IT'S AN EXCEPTIONALLY CLEVER ESSAY ABOUT THE (POST GOLDEN AGE) DISCRIMINATION OF REDHEADS IN HOLLYWOOD - USING HOLLYWOOD STEREOTYPICAL BLONDE AND BRUNETTE ACTRESSES
THAT'S AN UNDERSTATEMENT
IT TRULY IS MIND BLOWING
IT'S ABOUT ACTRESSES HAVING TO DYE THEIR HAIR - CHANGE THEIR NAMES (LOSE THEIR IDENTITY) - AND SLEEP AROUND - TO MAKE IT IN HOLLYWOOD
A PLACE WHICH WILL ULTIMATELY DESTROY THEM ANYWAY
AS IT DID TO NORMA JEANE MORTENSON
A.K.A MARILYN MONROE - WHO DYED HER HAIR, CHANGED HER NAME, AND SLEPT HER WAY TO THE TOP - AND HOLLYWOOD DESTROYED HER
("MULHOLLAND DRIVE" CAN ALSO BE LINKED TO JUDY GARLAND - ANOTHER ACTRESS TOTALLY DESTROYED BY HOLLYWOOD)
NOTICE HOW REDHEAD NICOLE KIDMAN DYES HER HAIR BLONDE OR BRUNETTE FOR MOST ROLES ... YET, IN THE BLACK AND WHITE ERA OF HOLLYWOOD, MANY OF THE BIGGEST FILM STARS IN THE WORLD ... WERE REDHEADS
REMEMBER "MULHOLLAND DRIVE" WAS MADE OVER 15 YEARS AGO - IT'S NOT A COMMENT ABOUT THE HOLLYWOOD OF TODAY, AND FILMS LIKE LA LA LAND
"MULHOLLAND DRIVE" ACTUALLY PORTRAYS A "DISGUISED" ERA - BETTY'S SUITCASES - AND MANY OTHER PROPS (SUCH AS THE "JITTERBUG") - ARE FROM THE 50'S
(THE "JITTERBUG" WAS ACTUALLY IN FASHION FROM ROUGHLY THE 30'S TILL THE 50'S
A PERIOD COINCIDING WITH THE "BLACK AND WHITE" PERIOD OF HOLLYWOOD "TALKIES")
ONE DAY CRITICS WILL GET IT - BETTY AND RITA ARE BOTH "COMPOSITES" OF CAMILLA RHODES AND DIANE SELWYN - (FROM DIFFERENT TIME PERIODS IN LYNCH'S FULL MOBIUS STRIP) - THEY ARE THE SAME PERSON
MIND BLOW NUMBER FOUR:
BETTY AND RITA ARE THE SAME PERSON
RITA IS A "COMPOSITE" OF TWO BIG-TIME ACTRESSES
BETTY ELMS IS A "COMPOSITE" OF TWO INNOCENT WANNABE ACTRESSES
ONCE YOU GRASP THE FILM'S CORE STRUCTURAL FOUNDATION YOU REALIZE HOW THIS WORKS ... IT'S EXTREMELY CLEVER (AND COMPLICATED) ... (YOU ARE JUST FALLING INTO A TRAP LYNCH HAS SET TO POWERFULLY EMPHASIZE THE POINT HE IS MAKING) - REMEMBER ...
IT'S THE CHARACTERS THAT ARE IMPORTANT ...
NOT THE ACTORS PORTRAYING THEM ...
(SOME ACTORS DO NOT MATCH THE CHARACTERS THEY ARE PLAYING - THIS IS AN EXTREMELY IMPORTANT CONCEPT TO GRASP IN ORDER TO FULLY UNDERSTAND MULHOLLAND DRIVE
BETTY REPRESENTS "PRE-HOLLYWOOD" INNOCENCE
"A FRESH BUTTERFLY"
RITA REPRESENTS A BUTTERFLY WHOSE WINGS ARE STAINED BY THE REALITIES OF HOLLYWOOD
BETTY STILL HAS HER IDENTITY - RITA HAS LOST HERS
BETTY REPRESENTS THE HOLLYWOOD STEREOTYPICAL "START PRODUCT"
RITA REPRESENTS THE HOLLYWOOD STEREOTYPICAL "END PRODUCT"
ULTIMATELY, ALL HOLLYWOOD ACTRESSES HAVE AN "EXPIRY DATE" - THE DATE THEY ARE REPLACED BY A NEWER MODEL IN LEADING ROLES
BUT THAT "NEWER MODEL" IS, MORE OFTEN THAN NOT, JUST ANOTHER STEREOTYPICAL "CLONE" OFF THE (DARK AND SHALLOW) HOLLYWOOD PRODUCTION LINE
"THIS IS THE GIRL"
THE HIT ON "LAURA HARRING" EFFECTIVELY REPRESENTS
IT'S THE MOB THAT ACTUALLY CONTROLS WHO IS "IN" AND WHO IS "OUT" IN HOLLYWOOD
(THE HOLLYWOOD ERA LYNCH IS DEPICTING)
"HOLLYWOOD HARDENED" BIG-TIME ACTRESSES ARE "DISPENSABLE"
THE "HOLLYWOOD DREAM FACTORY" CREATING CONVEYOR BELT QUEUES OF DESPERATE "WANNABE" ACTRESSES, WHO WILL DO ANYTHING TO GET ON THE DARK AND SHALLOW ROAD TO STARDOM ... BUT WHO, UNLESS THEY ACTUALLY SACRIFICE THEIR IDENTITY IN THE PROCESS (BY BECOMING A HOLLYWOOD STEREOTYPE ... WHICH INCLUDES HAVING THE RIGHT COLOR HAIR, THE RIGHT "SUBSERVIENCE", AND SLEEPING AROUND), WILL NEVER GET ANYWHERE ...
(WHICH IS EXACTLY WHAT HAPPENS TO THE VERSIONS OF CAMILLA RHODES AND DIANE SELWYN THAT LIVE AT SIERRA BONITA)
THAT THERE IS NO SUCH THING AS "INNOCENCE" IN HOLLYWOOD - ALL ROADS TO STARDOM LEAD TO THE DRUG ... AND EVERYONE GETS ADDICTED TO THE "DRUG" ... NO ONE (ORIGINAL IDENTITY) SURVIVES THE "DRUG" ...
HOLLYWOOD IS THE "DRUG"
BETTY AND RITA REPRESENT "HOLLYWOOD STEREOTYPES" - THE START AND END PRODUCTS FROM A BRUTAL, CONTINUOUS HOLLYWOOD "CONVEYOR BELT"
BETTY REPRESENTS AN ACTRESS "ON HER WAY IN"
RITA REPRESENTS AN ACTRESS "ON THE WAY OUT"
BETTY AND RITA REPRESENT THAT IT'S NOT JUST TALENT ALONE THAT IS NEEDED TO PROGRESS UP THE (VERY SLIPPERY) LADDER IN HOLLYWOOD
RITA REPRESENTS THE END RESULT - LOSING YOUR IDENTITY AND CONFIDENCE (NOTICE THAT BETTY IS ACTUALLY THE CONFIDENT ONE) AND BEING DISCARDED AND REPLACED
DIANE SELWYN REPRESENTS THE DESPERATION AND HUMILIATION OF YOUNG ACTRESSES TRYING TO MAKE IT IN HOLLYWOOD
CAMILLA RHODES REPRESENTS THE LENGTHS ACTRESSES WILL GO TO MAKE IT IN HOLLYWOOD, AND STAY THERE
BETTY AND RITA REPRESENT THE "BEFORE" AND "AFTER" - ULTIMATELY, ALL "IDENTITIES" ARE DESTROYED BY HOLLYWOOD
(RITA - "I DON'T KNOW WHO I AM")
EFFECTIVELY, HOLLYWOOD TURNS BETTYS ... INTO RITAS
(WHEN BETTY DISAPPEARS - AFTER VISITING "SILENCIO" (WHICH IS A REPRESENTATION OF HOLLYWOOD, AND TRAUMATIZES HER) - IT REPRESENTS THE "DEATH OF HER INNOCENT PERSONA")
(THIS IS FULLY EXPLAINED IN MY FULL ANALYSIS)
RITA IS CONTINUOUSLY "RECYCLED" ... WHICH REPRESENTS THE "CLONE" ASPECT OF THE HOLLYWOOD "DREAM FACTORY" - CHURNING OUT EXPENDABLE "BARBIE DOLLS" ON A DESTRUCTIVE "CONVEYOR BELT" OF IDENTITY OBLIVION
MR ROQUE REPRESENTS THE "DARK FORCES" THAT ACTUALLY CONTROL HOLLYWOOD
THE GENIUS OF "MULHOLLAND DRIVE" IS THAT, ON PAPER, BOTH BETTY AND RITA (WHO ARE "COMPOSITES") ARE ACTUALLY REDHEADS - THEY ARE JUST BEING PLAYED BY STEREOTYPICAL BLONDE AND BRUNETTE ACTRESSES
BETTY IS A "COMPOSITE" OF TWO INNOCENT UN-DYED REDHEADS (WHO LIVE AT SIERRA BONITA)
RITA IS A COMPOSITE OF TWO "HOLLYWOOD HARDENED" HAIR DYED BIG-TIME ACTRESSES - A BLONDE AND A BRUNETTE
MIND BLOW NUMBER FIVE:
BETTY AND RITA ARE ACTUALLY REDHEADS (ON PAPER)
THEY ARE JUST BEING PLAYED BY HOLLYWOOD STEREOTYPICAL BLONDE / BRUNETTE ACTRESSES
THE ACTRESSES ARE BLONDE / BRUNETTE - THE CHARACTERS ARE REDHEADS
WE SEE HOLLYWOOD STEREOTYPES ONSCREEN ... BUT ON PAPER ... THEY'RE REDHEADS
(DIANE SELWYN IS ALSO ACTUALLY A REDHEAD "ON PAPER" - THAT'S WHY SHE DIDN'T IMPRESS BOB BROOKER AT HER AUDITION (THAT SHE MENTIONS AT THE DINNER PARTY) AND ONLY GETS MINOR ROLES - A REDHEADED CHARACTER IS JUST BEING PLAYED BY A BLONDE ACTRESS - BIG-TIME ACTRESS CAMILLA RHODES IS A REDHEAD WHO HAS DYED HER HAIR)
WHEN COCO PATS DIANE SELWYNS HAND AT THE DINNER PARTY - IT'S BECAUSE DIANE SELWYN IS ACTUALLY A REDHEAD - AND COCO FEELS SORRY FOR HER - BECAUSE COCO'S APARTMENT BUILDING IS A HAVEN ... FOR REDHEADS ... THAT HAVE BEEN "DITCHED" BY HOLLYWOOD
CAMILLA RHODES IS A REDHEAD THAT HAS DYED HER HAIR AND SLEPT AROUND TO MAKE IT BIG
(CAMILLA'S REDHEADED MOTHER IS SITTING NEXT TO DIANE SELWYN AT THE DINNER PARTY - OF COURSE HER MOTHER IS AT THE ENGAGEMENT PARTY)
(LYNCH IS THROWING CLUES AT US)
(AS ALL THE MAIN CHARACTERS ARE ACTUALLY COMPOSITES OF EACH OTHER (BETTY / RITA / DIANE / CAMILLA) - IT CAN ALSO BE ARGUED SMALL-TIME DIANE SELWYN IS ACTUALLY A REDHEADED VERSION OF BIG-TIME (DYED HAIR) CAMILLA RHODES ... SO NOT ONLY ARE BETTY AND RITA THE SAME PERSON ... IT'S POSSIBLE, ON PAPER, DIANE AND CAMILLA ARE ACTUALLY VERSIONS OF THE SAME PERSON AS WELL ... ONE WHO DYED HER HAIR ... AND ONE WHO DIDN'T)
(THIS CREATES A BEAUTIFUL "SYMMETRY" ACROSS LYNCH'S FULL
(ACTUALLY 2 X 3 PART) MOBIUS STRIP)
LYNCH IS MAKING A VERY CLEVER, POWERFUL STATEMENT ABOUT HOLLYWOOD
ABOUT DISCRIMINATION OF REDHEADS
... WITHOUT ACTUALLY USING REDHEADS ...
(IF YOU WANTED TO MAKE A MOVIE ABOUT THE DISCRIMINATION OF REDHEADS IN HOLLYWOOD ... ONLY A GENIUS WOULD REALIZE THAT HE SHOULDN'T ACTUALLY USE REDHEADS ... AND USE STEREOTYPICAL BLONDE / BRUNETTE ACTRESSES)
COUNT HOW MANY REDHEADS YOU SEE IN MINOR ROLES IN
"MULHOLLAND DRIVE"
AND NOTE HOW LYNCH HAS CLEVERLY INTEGRATED THEM SUBTLY INTO THE MOVIE
COMING SOON - ANOTHER MIND BLOWING ADDITION TO DEEP CINEMA
"PERSONA" IS ANOTHER JUST WATCHED MASTERPIECE ... COMING SOON TO DEEP CINEMA
(I AM GOING TO "RIP-APART" MAINSTREAM THEORY ON THIS FILM WHEN I FIND THE TIME TO RE-WATCH AND ANALYZE IT ...
FILM CRITICS ARE GOING TO HAVE TO UP THE PRICE ON MY HEAD!)
PERSONA is about an anguished woman trying to make the biggest decision of her life ABORTION - confronting her future self for answers - a masterpiece
PERSONA is about abortion ... the film screams "ABORTION" if you look ...
Bergman's stunning masterpiece gives up it's secret ...
(THE TRUTH ALWAYS COMES OUT EVENTUALLY ...
FACTS ARE HARD TO BEAT)
"IT'S TIME TO WAKE UP"
FILM CRITICS HAVEN'T MANAGED TO GRASP
WHAT "MULHOLLAND DRIVE" IS REALLY ABOUT
IN OVER SIXTEEN YEARS ...
THE CHALLENGE IS ... WILL YOU?
PLISSKEN BOON TAKES YOU DOWN
"CHALLENGER DEEP"
DISCLAIMER
THIS BLOG WILL CHANGE THE WAY YOU WATCH MOVIES
(IT WOULD BE A MISTAKE TO THINK I MAKE THIS COMMENT LIGHTLY - OR THINK I'M JOKING)
THINK OF ALL SIX OF THESE MIND-BENDING MOVIES ... AS "ICEBERGS" - TWO THIRDS HIDDEN BENEATH THE SURFACE
THE GERMAN ENIGMA MACHINES WERE CRACKED BY GETTING INSIDE THE MINDS OF THE OPERATORS
TO UNDERSTAND THESE FILMS ... YOU HAVE TO GET "INSIDE" THE MIND OF THE DIRECTOR
UP TILL NOW, AT LEAST IN RESPECT OF DAVID LYNCH, PEOPLE HAVE THOUGHT THAT THIS WAS IMPOSSIBLE ... AND HAVE COME UP WITH ALL SORTS OF SUBJECTIVE THEORIES ABOUT THESE FILMS
THE TRUTH IS ... NO ONE REALLY TRIED TO FIND THE KEY TO RATIONALLY AND OBJECTIVELY DECODE THESE DEEP AND INGENIOUS PUZZLES
THE KEY TO DECODE THE TRUE GENIUS HIDDEN IN ALL SIX OF THESE EXTREMELY CLEVER, INTRIGUING MOVIES ... IS THE ART OF SCREENWRITING
ONE DAY ... THE WORLD WILL "GET IT"
TODAY ... IS THE DAY ...
YOU CHOOSE ...
THIS BLOG IS BROUGHT TO YOU BY THE:
"SO SICK OF READING RIDICULOUS DRIVEL ABOUT DAVID LYNCH FILMS" SOCIETY
(AN EXAMPLE: http://sensesofcinema.com/2013/feature-articles/in-dreams-and-imagination-surrealist-values-in-mulholland-dr-and-inland-empire/)
WHEN A FILM IS DESCRIBED AS "SURREAL" - "DREAMY" - OR "ART" ...
IT GENERALLY TRANSLATES TO:
"I HAVEN'T GOT A CLUE WHAT THIS MOVIE IS ABOUT ... BUT THAT'S NOT GOING TO STOP ME WRITING SOME HORRENDOUSLY PRETENTIOUS DRIVEL ABOUT IT PRETENDING I DO"
(WHEN YOU WRITE "DRIVEL" ... YOU RUN THE RISK ... THAT ONE DAY IN THE FUTURE ... IT WILL BE EXPOSED AS "DRIVEL" ... AND BITE YOU ON THE ARSE)
RULES OF "DEEP CINEMA"
(AND YES ... AT TIMES ... IT HAS BEEN "FIGHT CLUB")
RULE 1) NEVER WRITE DRIVEL
RULE 2) NEVER WRITE DRIVEL
RULE 3) NEVER WRITE DRIVEL
SPOILER ALERT
THIS BLOG IS FOR PEOPLE WHO WANT RATIONAL, OBJECTIVE EVIDENCE BASED ANSWERS, NOT SUBJECTIVE THEORIES AND FLOWERY DRIVEL - EVERYTHING IN THIS BLOG IS BACKED UP BY CONCLUSIVE EVIDENCE IN MY FULL DETAILED ANALYSIS
JUST LIKE DAVID LYNCH, I DON'T RECOMMEND YOU TRY TO VIEW THIS ON YOUR CELLPHONE
SIX OF THE CLEVEREST MOVIES IN HISTORY
(MULHOLLAND DRIVE - LOST HIGHWAY - INLAND EMPIRE
THE PRESTIGE - BIRDMAN - ENEMY)
COMPLETELY DECODED
THE ANSWERS ARE HERE ... AND THEY WILL ...TAKE YOUR BREATH AWAY
THERE IS NO ADVERTISING HERE ... NO CLICKBAIT ... JUST RATIONAL, FACT-BASED ANSWERS THAT WERE HIDDEN IN ELUSIVE, TWISTED DIMENSIONS WITHIN THESE INTRIGUING, MIND-BENDING FILMS ... UNSEEN, UNIMAGINED, IMPENETRABLE VAULTS HAVE NOW BEEN CRACKED OPEN ...
... IF YOU WANT TO KNOW WHAT THESE FILMS ARE REALLY ABOUT ... STEP OUT OF YOUR COMFORT ZONES ... WIPE PREVIOUS CONCEPTIONS ABOUT THESE FILMS FROM YOUR MINDS ... AND COME IN AND TAKE A LOOK ...
THE REAL GENIUS HIDDEN BENEATH THE SURFACE IN THESE FILMS WILL ASTOUND YOU ... YOU WILL REALIZE THE SIGNIFICANCE OF NOLAN'S WORDS ... "ARE YOU WATCHING CLOSELY?"
AFTER READING THIS BLOG ... YOU WILL NEVER FORGET THEM ...
PETABYTES OF FLOWERY SUBJECTIVE DRIVEL ABOUT THESE FILMS IS SLOWLY BUT SURELY BEING REMOVED FROM ALL OVER THE INTERNET - LIKE THE RECENT BOOK ABOUT LYNCH FILMS THAT WAS QUIETLY PULLED FROM DISTRIBUTION
THIS BLOG IS STARTING TO MAKE A DIFFERENCE
RATIONAL AND OBJECTIVE ANALYSIS OF THESE DEEP AND INGENIOUS MASTERPIECES
(YOU CAN READ MY FEEDBACK BELOW)
(I'M NOT MUCH OF A BLOGGER - BUT I'M NOT TOO BAD AT ANALYZING FILM
THESE FILMS ARE VERY DEEP
OVERRIDE ALL YOUR PREVIOUS ASSUMPTIONS
(READ: BRAINWASHING BY THE "STATUS QUO")
FULLY UNDERSTANDING THESE FILMS TAKES COMMITMENT
BUT THE END RESULT ... WILL BLOW YOUR MIND)
FOR INSTANCE:
MIND BLOW NUMBER ONE:
YOU NEVER ACTUALLY SEE AUNT RUTH IN
"MULHOLLAND DRIVE"
"MULHOLLAND DRIVE" IS GOING TO
ABSOLUTELY BLOW YOUR MIND
BUCKLE YOURSELF IN
EVERYTHING IS NOT AS IT SEEMS IN
"MULHOLLAND DRIVE"
BUT ONCE YOU GRASP IT'S CORE STRUCTURAL GENIUS ... YOU WILL BEGIN TO REALIZE THAT THERE IS NOTHING SUBJECTIVE ABOUT UNDERSTANDING IT - IT IS ALL COMPLETELY, OBJECTIVELY DECIPHERABLE
LYNCH HAS SIMPLY SET US A PUZZLE ... AND HAS SAT BACK WITH A TWINKLE IN HIS EYE ... TO SEE HOW LONG IT WOULD TAKE US TO SOLVE IT ...
THE CLOCK HAS NOW STOPPED
(IF YOU GET TO THE BOTTOM OF THIS PAGE ... YOU WILL AGREE)
EVERYTHING IN "MULHOLLAND DRIVE" - INCLUDING THE BLUE BOX, LOUISE BONNER, EVEN THE DOG DROPPINGS - IS INCONTROVERTIBLY EXPLAINED IN MY FULL DETAILED ANALYSIS
(YOU MAY HAVE DOUBTS ... BUT JUST READ THE FEEDBACK AT THE BOTTOM OF THIS PAGE ... FROM PEOPLE WHO HAVE READ MY FULL ANALYSIS ... AND TAKE A LOOK AT THE AVERAGE IQ OF MY FOLLOWERS ON TWITTER ... PRODUCERS, DIRECTORS, FILM EDITORS, SCREENWRITERS, AUTHORS, FILM ACADEMICS ... PEOPLE WHO UNDERSTAND SCREENWRITING AND FILM ... BECAUSE THE KEY TO UNDERSTANDING ALL THESE MOVIES ...
IS SCREENWRITING)
GREAT SCREENWRITERS ... SAY SOMETHING ...
WITHOUT SAYING IT ...
ALL OF THESE FILMS TRICK YOU EMPIRICALLY
YOU NEED TO USE OBJECTIVE, RATIONAL SKILLS TO UNDERSTAND THEM
I CALL MY BLOG
"WATER FOR INTELLIGENT ELEPHANTS"
(IT'S NOT FOR HORSES - EMPIRICALLY FOCUSED THINKERS HAVE ALREADY LEFT AFTER I TOLD THEM YOU NEVER ACTUALLY SEE AUNT RUTH IN THE FILM (SURPRISINGLY, MANY JUST CAN'T GRASP THAT WHAT THEY THINK THEY SEE, IS JUST A VERY CLEVER ILLUSION) - RATIONAL ELEPHANTS WILL WANT TO KNOW JUST HOW LYNCH IS CLEVERLY DECEIVING THEM ... AND WHAT IS REALLY GOING ON)
 |
| THIS ISN'T AUNT RUTH |
(THE WOMAN YOU SEE LEAVING IN THE TAXI ... ISN'T AUNT RUTH ... YOU'RE JUST BEING (EXTREMELY CLEVERLY) TRICKED INTO BELIEVING IT'S AUNT RUTH (THERE IS INCONTROVERTIBLE PROOF THAT IT'S NOT AUNT RUTH - YOU NEED TO UNDERSTAND WHAT IS ACTUALLY GOING ON IN "MULHOLLAND DRIVE" BEFORE I REVEAL WHO IT ACTUALLY IS - REVEALING WHO IT IS NOW WOULD CONFUSE EVEN ELEPHANTS) ... AS I SAID ... "MULHOLLAND DRIVE" IS GOING TO ABSOLUTELY BLOW YOUR MIND ... IT IS, WITHOUT DOUBT, THE CLEVEREST FILM IN HISTORY ... IT'S JUST TAKING THE WORLD A WHILE TO WAKE UP TO THIS FACT ... 15 YEARS AND COUNTING)
ONCE PEOPLE GRASP THE STRUCTURAL "SECRET" BEHIND "MULHOLLAND DRIVE" (AND READ MY ANALYSIS OF INLAND EMPIRE) - THEY BEGIN TO REALIZE THAT I DO ACTUALLY KNOW WHAT I'M TALKING ABOUT
BUT AS I SAID EARLIER, UNDERSTANDING THESE COMPLEX, CLEVER MOVIES TAKES COMMITMENT - IT'S A "LEARNING CURVE" - DON'T BE DISMISSIVE OF ANY OF THE "FACTS" I PUT FORWARD - NO MATTER HOW OUTLANDISH THEY MAY INITIALLY APPEAR - THEY ALL COME TOGETHER LIKE A RUBIK'S CUBE ... THAT APPEARS CUBIC, BUT ACTUALLY TURNS INTO A WONDERFULLY TRANSLUCENT SPHERE AS YOU PROGRESS THROUGH SOLVING IT
("MULHOLLAND DRIVE" IS FAR BIGGER ... FAR BRIGHTER ... FAR GREATER ... THAN THE SUM OF IT'S PARTS)
I'M DELIBERATELY POSTING SOME OF THE MORE "SHOCKING" FACTS FIRST ... THERE IS NO WAY TO PUT THEM ALL IN A "CORRECT" EASY TO GRASP CHRONOLOGICAL ORDER, BECAUSE MANY OF THEM ARE DEPENDENT AND RELATED TO OTHER EQUALLY "SHOCKING" MIND-BLOWING FACTS ABOUT THE FILM
BUT IT WILL PROBABLY GET RID OF CLOSED-MINDED EMPIRICALLY FOCUSED PEOPLE, OR THOSE THAT AREN'T REALLY COMMITTED OR PATIENT ENOUGH TO TAKE THE TIME TO FULLY UNDERSTAND THIS DETAILED EXPLANATION OF "MULHOLLAND DRIVE"
IT HAS BECOME VERY OBVIOUS, THROUGH THE DEMOGRAPHIC OF THOSE FOLLOWING ME ON TWITTER ... THAT THIS EXPLANATION CERTAINLY ISN'T GRASPED BY EVERYBODY)
(REMEMBER - LYNCH FILMS ARE ALREADY "SHOCKING" - IN THE CASE OF "MULHOLLAND DRIVE" WE HAVE TWO ACTRESSES PLAYING ONE CHARACTER ... AND ONE ACTRESS PLAYING TWO CHARACTERS - THE SYMMETRY OF WHICH IS, IN ITSELF, AN EXTREMELY IMPORTANT CLUE TO SOLVING WHAT'S REALLY GOING ON IN THE FILM - AND CLUES ABOUND IN "MULHOLLAND DRIVE" - WHICH REALLY IS A MESSAGE DELIVERED AS A PUZZLE ... RATHER THAN A STORY DELIVERED AS A MOVIE)
THIS BLOG IS A SMALL EXCLUSIVE CLUB FOR RATIONAL THINKERS ... WHO WANT TO FULLY UNDERSTAND (AND MARVEL AT THE TRUE GENIUS HIDDEN IN) THESE MOVIES ...
I HAVE COME IN FOR AN INCREDIBLY SURPRISING AMOUNT OF VERY UNFAIR AND IRRATIONAL ABUSE FROM SOME VERY IGNORANT PEOPLE FOR POSTING THIS BLOG
(MORONS FROM ALL WALKS OF LIFE WHO SEEM TO NEED NO EXCUSE TO JUMP IN FEET FIRST WITHOUT ANY RATIONAL THOUGHT PROCESS WHATSOEVER)
BUT IT'S "THANK-YOU'S" LIKE THIS (AND EXTREMELY POSITIVE FEEDBACK ... SOME OF WHICH YOU CAN READ AT THE BOTTOM OF THIS PAGE) FROM PEOPLE WHO REALLY APPRECIATE MY BLOG ... THAT MAKES IT ALL WORTH WHILE ...
(THIS PAGE IS JUST AN INTRODUCTION AND SUMMARY - LINKS TO FULL DETAILED ANALYSIS FOR EACH FILM ARE ON THE RIGHT >>>)
I (STRONGLY) RECOMMEND YOU READ THIS INTRO FIRST - PARTICULARLY FOR MULHOLLAND DRIVE
MY ANALYSIS OF
"MULHOLLAND DRIVE"
"INLAND EMPIRE"
"LOST HIGHWAY"
WILL SHOCK THOSE OF YOU WHO HAVE BEEN BRAINWASHED BY TWO DECADES OF SUBJECTIVE DRIVEL ABOUT DAVID LYNCH FILMS
LYNCH DOESN'T DO DREAMS ... BUT HE DOES DO MOZART
"MULHOLLAND DRIVE"
MIND BLOW NUMBER TWO:
"MULHOLLAND DRIVE" IS ACTUALLY A VERY CLEVER SEQUEL TO
"SUNSET BOULEVARD"
(THE MIND BLOWING "SUNSET BOULEVARD" ELEMENTS (WHICH ARE FULLY DETAILED IN MY ANALYSIS) LYNCH HAS CLEVERLY WOVEN INTO
"MULHOLLAND DRIVE" ACTUALLY CONFIRM THIS)
WINKIE'S DINER - SILENCIO - PARAMOUNT - SOME OF THE MOST IMPORTANT SCENES IN "MULHOLLAND DRIVE" - ARE ALL INGENIOUSLY BASED ON "SUNSET BOULEVARD"
IT TURNS OUT ... THAT "MULHOLLAND DRIVE" IS ACTUALLY A SEQUEL TO "SUNSET BOULEVARD" - WHICH, OF COURSE, IS NO SURPRISE COMPARING THE TITLES ... BOTH FILMS DEPICTING THE DEVASTATING AFTER-EFFECTS, FOR SOME ACTORS, OF THE TRANSITION BETWEEN MOVIE ERAS
"SUNSET BOULEVARD" THE TRANSITION BETWEEN THE SILENT ERA AND TALKIES ... "MULHOLLAND DRIVE" THE TRANSITION FROM BLACK AND WHITE TALKIES TO COLOR
(LYNCH IS VERY CLEVERLY DISGUISING THE ERA "MULHOLLAND DRIVE" IS ACTUALLY SET IN)
"Within the illusion of Sunset Boulevard Wilder develops a real tragedy, the coming of sound"
Lynch does the same thing with Mulholland Drive - the underlying tragedy ... the coming of color
MIND BLOW NUMBER THREE:
THERE IS NO DREAM
LYNCH'S SUBLIME POISON PEN LETTER TO HOLLYWOOD
I CONSIDER THE CLEVEREST FILM IN HISTORY
"MULHOLLAND DRIVE" IS ABOUT THE DARK SIDE AND SHALLOWNESS OF HOLLYWOOD
IT'S AN EXCEPTIONALLY CLEVER ESSAY ABOUT THE (POST GOLDEN AGE) DISCRIMINATION OF REDHEADS IN HOLLYWOOD - USING HOLLYWOOD STEREOTYPICAL BLONDE AND BRUNETTE ACTRESSES
THAT'S AN UNDERSTATEMENT
IT TRULY IS MIND BLOWING
IT'S ABOUT ACTRESSES HAVING TO DYE THEIR HAIR - CHANGE THEIR NAMES (LOSE THEIR IDENTITY) - AND SLEEP AROUND - TO MAKE IT IN HOLLYWOOD
A PLACE WHICH WILL ULTIMATELY DESTROY THEM ANYWAY
AS IT DID TO NORMA JEANE MORTENSON
A.K.A MARILYN MONROE - WHO DYED HER HAIR, CHANGED HER NAME, AND SLEPT HER WAY TO THE TOP - AND HOLLYWOOD DESTROYED HER
("MULHOLLAND DRIVE" CAN ALSO BE LINKED TO JUDY GARLAND - ANOTHER ACTRESS TOTALLY DESTROYED BY HOLLYWOOD)
NOTICE HOW REDHEAD NICOLE KIDMAN DYES HER HAIR BLONDE OR BRUNETTE FOR MOST ROLES ... YET, IN THE BLACK AND WHITE ERA OF HOLLYWOOD, MANY OF THE BIGGEST FILM STARS IN THE WORLD ... WERE REDHEADS
REMEMBER "MULHOLLAND DRIVE" WAS MADE OVER 15 YEARS AGO - IT'S NOT A COMMENT ABOUT THE HOLLYWOOD OF TODAY, AND FILMS LIKE LA LA LAND
"MULHOLLAND DRIVE" ACTUALLY PORTRAYS A "DISGUISED" ERA - BETTY'S SUITCASES - AND MANY OTHER PROPS (SUCH AS THE "JITTERBUG") - ARE FROM THE 50'S
(THE "JITTERBUG" WAS ACTUALLY IN FASHION FROM ROUGHLY THE 30'S TILL THE 50'S
A PERIOD COINCIDING WITH THE "BLACK AND WHITE" PERIOD OF HOLLYWOOD "TALKIES")
ONE DAY CRITICS WILL GET IT - BETTY AND RITA ARE BOTH "COMPOSITES" OF CAMILLA RHODES AND DIANE SELWYN - (FROM DIFFERENT TIME PERIODS IN LYNCH'S FULL MOBIUS STRIP) - THEY ARE THE SAME PERSON
MIND BLOW NUMBER FOUR:
BETTY AND RITA ARE THE SAME PERSON
RITA IS A "COMPOSITE" OF TWO BIG-TIME ACTRESSES
BETTY ELMS IS A "COMPOSITE" OF TWO INNOCENT WANNABE ACTRESSES
IT'S THE CHARACTERS THAT ARE IMPORTANT ...
NOT THE ACTORS PORTRAYING THEM ...
(SOME ACTORS DO NOT MATCH THE CHARACTERS THEY ARE PLAYING - THIS IS AN EXTREMELY IMPORTANT CONCEPT TO GRASP IN ORDER TO FULLY UNDERSTAND MULHOLLAND DRIVE
BETTY REPRESENTS "PRE-HOLLYWOOD" INNOCENCE
"A FRESH BUTTERFLY"
RITA REPRESENTS A BUTTERFLY WHOSE WINGS ARE STAINED BY THE REALITIES OF HOLLYWOOD
BETTY STILL HAS HER IDENTITY - RITA HAS LOST HERS
BETTY REPRESENTS THE HOLLYWOOD STEREOTYPICAL "START PRODUCT"
RITA REPRESENTS THE HOLLYWOOD STEREOTYPICAL "END PRODUCT"
ULTIMATELY, ALL HOLLYWOOD ACTRESSES HAVE AN "EXPIRY DATE" - THE DATE THEY ARE REPLACED BY A NEWER MODEL IN LEADING ROLES
BUT THAT "NEWER MODEL" IS, MORE OFTEN THAN NOT, JUST ANOTHER STEREOTYPICAL "CLONE" OFF THE (DARK AND SHALLOW) HOLLYWOOD PRODUCTION LINE
"THIS IS THE GIRL"
THE HIT ON "LAURA HARRING" EFFECTIVELY REPRESENTS
IT'S THE MOB THAT ACTUALLY CONTROLS WHO IS "IN" AND WHO IS "OUT" IN HOLLYWOOD
(THE HOLLYWOOD ERA LYNCH IS DEPICTING)
"HOLLYWOOD HARDENED" BIG-TIME ACTRESSES ARE "DISPENSABLE"
THE "HOLLYWOOD DREAM FACTORY" CREATING CONVEYOR BELT QUEUES OF DESPERATE "WANNABE" ACTRESSES, WHO WILL DO ANYTHING TO GET ON THE DARK AND SHALLOW ROAD TO STARDOM ... BUT WHO, UNLESS THEY ACTUALLY SACRIFICE THEIR IDENTITY IN THE PROCESS (BY BECOMING A HOLLYWOOD STEREOTYPE ... WHICH INCLUDES HAVING THE RIGHT COLOR HAIR, THE RIGHT "SUBSERVIENCE", AND SLEEPING AROUND), WILL NEVER GET ANYWHERE ...
(WHICH IS EXACTLY WHAT HAPPENS TO THE VERSIONS OF CAMILLA RHODES AND DIANE SELWYN THAT LIVE AT SIERRA BONITA)
THAT THERE IS NO SUCH THING AS "INNOCENCE" IN HOLLYWOOD - ALL ROADS TO STARDOM LEAD TO THE DRUG ... AND EVERYONE GETS ADDICTED TO THE "DRUG" ... NO ONE (ORIGINAL IDENTITY) SURVIVES THE "DRUG" ...
HOLLYWOOD IS THE "DRUG"
BETTY AND RITA REPRESENT "HOLLYWOOD STEREOTYPES" - THE START AND END PRODUCTS FROM A BRUTAL, CONTINUOUS HOLLYWOOD "CONVEYOR BELT"
BETTY REPRESENTS AN ACTRESS "ON HER WAY IN"
RITA REPRESENTS AN ACTRESS "ON THE WAY OUT"
BETTY AND RITA REPRESENT THAT IT'S NOT JUST TALENT ALONE THAT IS NEEDED TO PROGRESS UP THE (VERY SLIPPERY) LADDER IN HOLLYWOOD
RITA REPRESENTS THE END RESULT - LOSING YOUR IDENTITY AND CONFIDENCE (NOTICE THAT BETTY IS ACTUALLY THE CONFIDENT ONE) AND BEING DISCARDED AND REPLACED
DIANE SELWYN REPRESENTS THE DESPERATION AND HUMILIATION OF YOUNG ACTRESSES TRYING TO MAKE IT IN HOLLYWOOD
CAMILLA RHODES REPRESENTS THE LENGTHS ACTRESSES WILL GO TO MAKE IT IN HOLLYWOOD, AND STAY THERE
BETTY AND RITA REPRESENT THE "BEFORE" AND "AFTER" - ULTIMATELY, ALL "IDENTITIES" ARE DESTROYED BY HOLLYWOOD
(RITA - "I DON'T KNOW WHO I AM")
EFFECTIVELY, HOLLYWOOD TURNS BETTYS ... INTO RITAS
(WHEN BETTY DISAPPEARS - AFTER VISITING "SILENCIO" (WHICH IS A REPRESENTATION OF HOLLYWOOD, AND TRAUMATIZES HER) - IT REPRESENTS THE "DEATH OF HER INNOCENT PERSONA")
(THIS IS FULLY EXPLAINED IN MY FULL ANALYSIS)
RITA IS CONTINUOUSLY "RECYCLED" ... WHICH REPRESENTS THE "CLONE" ASPECT OF THE HOLLYWOOD "DREAM FACTORY" - CHURNING OUT EXPENDABLE "BARBIE DOLLS" ON A DESTRUCTIVE "CONVEYOR BELT" OF IDENTITY OBLIVION
MR ROQUE REPRESENTS THE "DARK FORCES" THAT ACTUALLY CONTROL HOLLYWOOD
THE GENIUS OF "MULHOLLAND DRIVE" IS THAT, ON PAPER, BOTH BETTY AND RITA (WHO ARE "COMPOSITES") ARE ACTUALLY REDHEADS - THEY ARE JUST BEING PLAYED BY STEREOTYPICAL BLONDE AND BRUNETTE ACTRESSES
BETTY IS A "COMPOSITE" OF TWO INNOCENT UN-DYED REDHEADS (WHO LIVE AT SIERRA BONITA)
RITA IS A COMPOSITE OF TWO "HOLLYWOOD HARDENED" HAIR DYED BIG-TIME ACTRESSES - A BLONDE AND A BRUNETTE
MIND BLOW NUMBER FIVE:
BETTY AND RITA ARE ACTUALLY REDHEADS (ON PAPER)
THEY ARE JUST BEING PLAYED BY HOLLYWOOD STEREOTYPICAL BLONDE / BRUNETTE ACTRESSES
THE ACTRESSES ARE BLONDE / BRUNETTE - THE CHARACTERS ARE REDHEADS
WE SEE HOLLYWOOD STEREOTYPES ONSCREEN ... BUT ON PAPER ... THEY'RE REDHEADS
(DIANE SELWYN IS ALSO ACTUALLY A REDHEAD "ON PAPER" - THAT'S WHY SHE DIDN'T IMPRESS BOB BROOKER AT HER AUDITION (THAT SHE MENTIONS AT THE DINNER PARTY) AND ONLY GETS MINOR ROLES - A REDHEADED CHARACTER IS JUST BEING PLAYED BY A BLONDE ACTRESS - BIG-TIME ACTRESS CAMILLA RHODES IS A REDHEAD WHO HAS DYED HER HAIR)
WHEN COCO PATS DIANE SELWYNS HAND AT THE DINNER PARTY - IT'S BECAUSE DIANE SELWYN IS ACTUALLY A REDHEAD - AND COCO FEELS SORRY FOR HER - BECAUSE COCO'S APARTMENT BUILDING IS A HAVEN ... FOR REDHEADS ... THAT HAVE BEEN "DITCHED" BY HOLLYWOOD
CAMILLA RHODES IS A REDHEAD THAT HAS DYED HER HAIR AND SLEPT AROUND TO MAKE IT BIG
(CAMILLA'S REDHEADED MOTHER IS SITTING NEXT TO DIANE SELWYN AT THE DINNER PARTY - OF COURSE HER MOTHER IS AT THE ENGAGEMENT PARTY)
(LYNCH IS THROWING CLUES AT US)
(AS ALL THE MAIN CHARACTERS ARE ACTUALLY COMPOSITES OF EACH OTHER (BETTY / RITA / DIANE / CAMILLA) - IT CAN ALSO BE ARGUED SMALL-TIME DIANE SELWYN IS ACTUALLY A REDHEADED VERSION OF BIG-TIME (DYED HAIR) CAMILLA RHODES ... SO NOT ONLY ARE BETTY AND RITA THE SAME PERSON ... IT'S POSSIBLE, ON PAPER, DIANE AND CAMILLA ARE ACTUALLY VERSIONS OF THE SAME PERSON AS WELL ... ONE WHO DYED HER HAIR ... AND ONE WHO DIDN'T)
(THIS CREATES A BEAUTIFUL "SYMMETRY" ACROSS LYNCH'S FULL
(ACTUALLY 2 X 3 PART) MOBIUS STRIP)
LYNCH IS MAKING A VERY CLEVER, POWERFUL STATEMENT ABOUT HOLLYWOOD
ABOUT DISCRIMINATION OF REDHEADS
... WITHOUT ACTUALLY USING REDHEADS ...
(IF YOU WANTED TO MAKE A MOVIE ABOUT THE DISCRIMINATION OF REDHEADS IN HOLLYWOOD ... ONLY A GENIUS WOULD REALIZE THAT HE SHOULDN'T ACTUALLY USE REDHEADS ... AND USE STEREOTYPICAL BLONDE / BRUNETTE ACTRESSES)
COUNT HOW MANY REDHEADS YOU SEE IN MINOR ROLES IN
"MULHOLLAND DRIVE"
AND NOTE HOW LYNCH HAS CLEVERLY INTEGRATED THEM SUBTLY INTO THE MOVIE
THE REAL PREMISE
HOLLYWOOD IS A VERY DARK AND SHALLOW PLACE ... CONTROLLED BY THE MOB
(IF HE TRIED TO MAKE A FILM ABOUT REDHEADS, USING ACTUAL REDHEADS ... IT WOULDN'T GET MADE)
DAVID LYNCH WILL GO DOWN AS THE CLEVEREST WRITER / DIRECTOR IN HISTORY
THE PORTRAIT WE KEEP SEEING IN THE HALLWAY - IN THIS SCENE LYNCH EVEN HAS IT CLEVERLY LIT AND FRAMED BY THE TWO BLONDE / BRUNETTE ACTRESSES - OF A WOMAN WITH HER HAIR IN A SCARF - HER HAIR COLOR IRRELEVANT - EPITOMIZES LYNCH'S GENIUS
(AND NEXT TO IT IN THE HALLWAY - A PAINTING OF A BLACK AND WHITE "MOBIUS STRIP"
DEPICTING THE BLONDE / BRUNETTE RECIPROCITY OF "MULHOLLAND DRIVE")
NOTE HOW LYNCH USES AN "ORANGE" TONE, AND THE COLOR RED THROUGHOUT THE MOVIE
(YOU WON'T FIND ANOTHER MOVIE IN HISTORY THAT USES MORE BROWN, ORANGE, AND RED
(EXCLUDING "WESTERNS" LIKE "MAD MAX FURY ROAD" OF COURSE)
LYNCH PUSHES THIS "ENVELOPE" TO IT'S LIMITS - AND HAS GOT AWAY WITH IT FOR OVER 15 YEARS
NEXT TIME YOU WATCH "MULHOLLAND DRIVE" - THE AMOUNT OF "ORANGE" IN AUNT RUTH'S APARTMENT - WILL "CHOKE" YOU)
THAT'S WHY WALLY AND WOODY ARE OLD-TIMERS
THEY DON'T DISCRIMINATE AGAINST REDHEADS
THEY LOVE BETTY
THEY ARE RELICS FROM THE GOLDEN AGE OF HOLLYWOOD
"WALLY'S TIME WAS UP TWENTY YEARS AGO"
BOB BROOKER IS TOTALLY DISINTERESTED IN BETTY
(AND NOTICE - HIS ASSISTANT IS BLONDE)
(WALLY'S OFFICE IS STRAIGHT OUT OF
"SUNSET BOULEVARD")
(LINNEY JAMES IS ALSO A RELIC FROM THE GOLDEN AGE OF HOLLYWOOD
A REDHEAD WHO CAN NO LONGER GET WORK AS AN ACTRESS)
WHY WOULD WOODY KATZ GO TO JAIL?
MIND BLOW NUMBER SIX:
BETTY ELMS (AS WE SEE HER) IS MISMATCHED TO THE CHARACTER SHE IS PLAYING IN THE AUDITION ... WOODY WOULD NOT GO TO JAIL FOR HAVING SEX WITH A 30 YEAR OLD WOMAN (NAOMI WATTS) ...
THE JITTERBUG OPENING SCENE ... AND THIS SCENE ... TELLS US THAT BETTY ELMS IS ACTUALLY A TEENAGER
REDHEADED TEENAGER BETTY ELMS IS BEING PLAYED BY 30 YEAR BLONDE, NAOMI WATTS
IN THE FILM'S OPENING SEQUENCE - "THE JITTERBUG" - THEY ARE TEENAGERS
BETTY ELMS IS A FRESH FACED DOE-EYED TEENAGER FROM DEEP RIVER, ONTARIO ... NOT A THIRTY YEAR OLD WOMAN
(LYNCH IS CLEVERLY USING A FRESH-FACED THIRTY YEAR OLD ACTRESS - NAOMI WATTS - TO (ONCE AGAIN) FOOL US)
(THIS WOULD ALSO ALLUDE TO THE TIME-FRAME IN MY "MONOPOLY BOARD" RECONSTRUCTION (EXPLAINED IN MY FULL ANALYSIS) OF "MULHOLLAND DRIVE" ACTUALLY COVERING MANY YEARS, NOT JUST MANY MONTHS ... WHICH IS A MORE RATIONAL AND REALISTIC SCENARIO)
(YOU ARE PROBABLY BEGINNING TO "SEE" THAT "MULHOLLAND DRIVE" IS WAY, WAY DEEPER THAN THE "SOFT OPTION" COP-OUT "ILLUSION OF TRUTH" DREAM SCENARIO THAT IT HAS BECOME ENTRENCHED AS, IN MEDIA AND ACADEMIA, OVER THE LAST 16 YEARS ... AND CERTAINLY A FAR MORE MIND BLOWING AND INTRIGUING PROPOSITION ALL ROUND)
HAVE NO DOUBT ... "MULHOLLAND DRIVE" IS FROM THE MIND OF A GENIUS ... IT'S AN "ESCHER" THAT LYNCH HAS CREATED ... A THREE DIMENSIONAL PUZZLE IN HIS MIND ... THAT HE HAS TORN INTO A FEW HUNDRED PIECES ... THEN GIVEN US A FEW DOZEN PIECES FROM THE OUTER SURFACE ...
AS "MULHOLLAND DRIVE"
(THE "PINCH POINT" IS THE BLUE BOX)
("MULHOLLAND DRIVE" IS ACTUALLY PORTRAYING A "DISGUISED" ERA - FURTHER BACK THAN MOST PEOPLE REALIZE - IT'S JUST THAT LYNCH IS VERY CLEVERLY INTEGRATING PROPS COVERING FIVE DECADES - HE IS A GENIUS AT "INCONSPICUOUSLY" PULLING THIS OFF)
(LYNCH DOES THE SAME THING IN "LOST HIGHWAY" ... WHERE THE MURDER ACTUALLY HAPPENS IN THE 1960'S)
(EVEN THE "WELCOME TO LA" SIGN AT LAX IS AN OLD FASHIONED BANNER RATHER THAN A MODERN SIGN)
MIND BLOW NUMBER SEVEN:
"MULHOLLAND DRIVE" IS MADE FROM THREE SCREENWRITING DRAFTS
EACH IS DEPENDENT ON THE OTHER TWO
THIS IS THE KEY CONCEPT TO UNDERSTANDING "MULHOLLAND DRIVE"
"MULHOLLAND DRIVE" IS MADE UP OF THREE SEPARATE DRAFTS (STORIES)
(THIS IS THE "STRUCTURAL" CONCEPT YOU HAVE TO GET YOUR HEAD AROUND TO BE ABLE TO UNDERSTAND "MULHOLLAND DRIVE")
(BUT EACH DRAFT IS DEPENDENT ON THE OTHER TWO ... EACH IS, EFFECTIVELY A "COMPOSITE" OF THE OTHER TWO ... THEY ARE ALWAYS "CONTINUOUSLY REWRITTEN" - BECAUSE "THE COWBOY" IS NEVER SATISFIED - CREATING A MOBIUS STRIP)
A BIG-TIME CAMILLA RHODES / SMALL-TIME DIANE SELWYN DRAFT
A BIG-TIME DIANE SELWYN / SMALL-TIME CAMILLA RHODES DRAFT
(THE TWO BIG-TIME ACTRESSES CREATE RITA - THE TWO SMALL-TIME ACTRESSES CREATE BETTY)
THESE TWO STORIES (DRAFTS) MAKE UP BOTH SIDES OF THE MOBIUS STRIP
AND THEY IN TURN CREATE THE "COMPOSITE" BETTY / RITA DRAFT, WHICH "TWISTS" THE MOBIUS STRIP SO THE OTHER TWO STORIES FLOW TOGETHER
(THE BETTY ELMS "CENTER" DRAFT CLEVERLY COMBINES BOTH STORIES, AS WELL AS CHARACTERS)
(ALL THE MAIN CHARACTERS IN "MULHOLLAND DRIVE" ARE, EFFECTIVELY, "COMPOSITES")
(MOBIUS STRIPS HAVE AN "INSIDE" AND AN "OUTSIDE" - AND A "TWIST" THAT ALLOWS BOTH SIDES TO SEAMLESSLY AND CONTINUOUSLY FLOW TOGETHER)
THERE IS ONE "POOL" OF ACTORS PLAYING ALL THE CHARACTERS IN ALL THREE STORIES - AND LYNCH IS VERY CLEVERLY SWITCHING SOME OF THEM AROUND
(IT MAY NOW BE STARTING TO DAWN ON YOU WHAT IS REALLY GOING ON IN THE FIRST FEW MINUTES OF THE MOVIE - A BIG CLUE - THE FIRETRUCK SAYS "119" ... THE AMBULANCE SAYS "911")
(THIS IS A CLUE (THERE ARE MORE) YOU ARE SEEING "BOTH SIDES" OF THE MOBIUS STRIP
"AT THE SAME TIME" - ANOTHER MIND BLOWER)
SOME MORE SNIPPETS FROM MY FULL ANALYSIS:
"SUNSET BOULEVARD" 1950
LYNCH'S FAVORITE MOVIE
PLAYS A VERY BIG PART IN "MULHOLLAND DRIVE"
THE SITUATIONS SURROUNDING THE BLUE BOX AND LOUISE BONNER ARE MIND BOGGLING
THE $2 MILLION DOLLAR KICKER - YOU NEVER ACTUALLY SEE AUNT RUTH IN THE WHOLE MOVIE
(THE $2 MILLION DOLLAR CLUE - THE ROBE WITH THE NOTE IS MISSING AFTER RITA DISAPPEARS ... AND YOU CAN'T SEE THE CLOCK ... BECAUSE THE TIME IS IMPORTANT)
(THERE'S A REASON LYNCH SHOWS US THE ROBE WITH A NOTE ON IT ... IN FILMMAKING ... THERE'S ALWAYS A REASON)
I'VE GIVEN YOU SEVEN "MIND BLOWERS" SO FAR
THERE ARE AT LEAST THIRTY MORE IN
"MULHOLLAND DRIVE"
(AND EACH ONE IS "INCONTROVERTIBLY" EXPLAINED IN FULL DETAIL)
THERE IS NO "DREAM"
THE TV SERIES WAS OBVIOUSLY GOING TO BE A FULL TWO-SIDED MOBIUS STRIP - WITH THE "TWIST" THAT "SEAMLESSLY" JOINS THE TWO SIDES, BEING THE "COMPOSITE" BETTY/RITA STORY
"MULHOLLAND DRIVE" IS AN UNBELIEVABLY CLEVER "TRUNCATED" VERSION OF IT
(VERY TRUNCATED - BASICALLY THE FIRST AND LAST EPISODES OF SAY A TEN OR THIRTEEN PART TV SERIES)
(THERE IS A BREAKDOWN OF HOW THE THREE DRAFTS WOULD FIT TOGETHER FOR THE TV SERIES IN MY FULL ANALYSIS)
BUT BECAUSE THE BETTY / RITA STORY IS A "COMPOSITE" OF PARTS OF THE OTHER TWO STORIES, YOU CAN ACTUALLY WORK OUT THE FULL MOBIUS STRIP - AS I SAID EARLIER ... THE CLEVEREST FILM IN HISTORY
FOR INSTANCE - THE BOARDROOM SCENE IS MADE UP OF MULTIPLE "SPLICES"
"WHAT WAS IT LAST TIME?"
IS A REFERENCE TO "PREVIOUS" DRAFTS
"IT'S NO LONGER YOUR MOVIE" IS FROM THE CAMILLA RHODES DRAFT
THE PHOTO OF CAMILLA RHODES (MELISSA GEORGE) IS FROM THE COMPOSITE BETTY ELMS DRAFT
(MELISSA GEORGE PLAYS CAMILLA RHODES IN THE COMPOSITE "CENTER" DRAFT)
(MELISSA GEORGE IS PLAYING ANOTHER (UNKNOWN) CHARACTER WHEN SHE KISSES CAMILLA RHODES - IN THE CAMILLA RHODES DRAFT)
MR ROQUE SHUTTING DOWN THE MOVIE IS FROM THE DIANE SELWYN DRAFT
ADAM KESHER IN HIS PORSCHE BEING TOLD THE MOVIE IS SHUT DOWN IS FROM THE DIANE SELWYN DRAFT
(IT BEMUSES ME THAT PEOPLE HAVEN'T BEEN QUESTIONING DISCREPANCIES LIKE THIS IN THE FILM - ONE MINUTE THE MOVIE IS SHUT DOWN AND EVERYONE FIRED - THE NEXT ADAM KESHER IS AUDITIONING ACTRESSES - IT'S BECAUSE THERE ARE THREE DRAFTS AND THREE STORIES ... TWO SLIGHTLY DIFFERENT (RIGHT AND LEFT HAND) DRAFTS ARE BEING COMBINED - TO FORM A THIRD ("CENTER") DRAFT - THE BETTY ELMS / RITA STORY)
CYNTHIA IS ADAM KESHER'S ASSISTANT IN THE DIANE SELWYN DRAFT
(SO THE SCENE WHERE ADAM IS IN "COOKIE'S DOWNTOWN" TALKING TO CYNTHIA IS FROM THE DIANE SELWYN DRAFT)
(NOTE: THE ACTOR PLAYING "COOKIE" IN THE DIANE SELWYN DRAFT - PLAYS ANOTHER CHARACTER AT CLUB SILENCIO ... IN THE "COMPOSITE" BETTY ELMS DRAFT)
(IT'S A TRADEMARK OF LYNCH'S GENIUS THE WAY HE "SLIDES" CLUES LIKE THIS "PAST" HIS AUDIENCE)
ADAM KESHER MEETS THE COWBOY - WE CAN DEDUCE THIS SCENE ISN'T FROM THE CAMILLA RHODES DRAFT - BECAUSE A DIFFERENT ACTOR PLAYS THE COWBOY IN THE BRIEF GLIMPSE WE GET OF HIM IN THE CAMILLA RHODES DRAFT (AND ADAM KESHER HAS THE MOVIE TAKEN OFF HIM IN THE CAMILLA RHODES DRAFT) - WE KNOW THAT THE MOVIE IS SHUT DOWN AND EVERYONE FIRED IN THE DIANE SELWYN DRAFT - SO WE CAN DEDUCE THAT THE SCENE WE SEE ... IS FROM THE BETTY ELMS DRAFT (THE MOVIE HASN'T BEEN SHUT DOWN ... AND HASN'T BEEN TAKEN OFF ADAM KESHER - AND THIS ONLY HAPPENS IN THE "RAW" ("PRE-SPLICED") BETTY ELMS STORY)
(THREE "RAW" STORIES COMBINE TOGETHER TO FORM THREE "COMPOSITE" STORIES - BUT WE ONLY SEE A SMALL PERCENTAGE OF THE COMPLETE "OVERALL" MOBIUS STRIP - A "MOSAIC" THAT BECOMES A "CONDENSED" MASTERPIECE - "MULHOLLAND DRIVE")
(EVEN THOUGH ADAM KESHER AGREES TO MEET THE COWBOY IN THE DIANE SELWYN DRAFT ... WE CAN DEDUCE THAT THE CONVERSATION WOULD HAVE BEEN DIFFERENT ... LYNCH IS CREATING SOME "STRANGE DAYS")
("A MAN'S ATTITUDE GOES SOME WAYS TO HOW HIS LIFE WILL BE" - IN TWO DRAFTS ... (WE CAN DEDUCE) ADAM KESHER HAS A "BAD ATTITUDE" (MOB'S POV) ... AND LOSES THE MOVIE)
(WE ALSO SEE THE (SAME) COWBOY ATTEMPT TO WAKE A BRUNETTE UP ON THE BED AT SIERRA BONITA (TWICE) - EXACTLY WHAT WE WOULD EXPECT TO SEE ... IN THE DIANE SELWYN DRAFT)
(BETTY DISAPPEARS BECAUSE THE TWO SMALL-TIME ACTRESSES DIE)
(THERE IS AN "OVERLAP" CREATED AFTER THE CAR ACCIDENT - (IT IS EXACTLY THE SAME LENGTH AS THE BETTY ELMS DRAFT ... WHICH ITSELF ACTUALLY IS THE "OVERLAP") - THE SMALL-TIME ACTRESSES COMMIT SUICIDE BY DRUG OVERDOSE ... SLEEP THE LENGTH OF THE BETTY ELMS DRAFT ... THEN DIE (THIS CAUSES BETTY ELMS TO DISAPPEAR (DIE) AT THE SAME MOMENT)
NOTE
BETTY ELMS IS A "COMPOSITE" OF BOTH SMALL-TIME ACTRESSES THAT LIVE AT SIERRA BONITA (SMALL-TIME DIANE SELWYN IN THE CAMILA RHODES DRAFT, AND SMALL-TIME CAMILLA RHODES IN THE DIANE SELWYN DRAFT) - AND, AS THE BETTY ELMS DRAFT EFFECTIVELY STARTS WHEN THE TWO SMALL-TIME ACTRESSES TAKE A DRUG OVERDOSE ... AND ENDS WHEN THEY ACTUALLY DIE ... IT COULD BE ARGUED THAT THE BETTY ELMS DRAFT IS A "DREAM" ... BUT IT'S A "DREAM" OF THE TWO SMALL-TIME ACTRESSES "COMBINED" ... SO EFFECTIVELY IT'S BETTY ELMS OWN "DREAM" ... AND THIS DOESN'T TAKE INTO ACCOUNT THAT ALTHOUGH BETTY ELMS DISAPPEARS (DIES) ... THE BETTY ELMS DRAFT DOES NOT END AT EXACTLY THIS MOMENT (RITA HASN'T YET DISAPPEARED) ... AND THAT ALL DRAFTS ACTUALLY START / END AT THE SAME MOMENT (WHEN RITA DISAPPEARS)
LYNCH HAS CREATED A "LIMBO" PERIOD - A "TIME WARP" ... RATHER THAN A "DREAM"
("DREAM" LOGIC JUST DOESN'T STACK UP IN "MULHOLLAND DRIVE"
THE LAST ACT ACTUALLY HAS MORE CREDIBILITY AS A DREAM THAN THE FIRST TWO ACTS - BECAUSE IT SHOWS THE CAMILLA RHODES DRAFT IN FLASHBACK (NOT TO MENTION STRANGE "LITTLE PEOPLE" RUNNING ABOUT)
BUT THE TRUTH IS THERE IS NO DREAM ... AND NO REALITY ...
"MULHOLLAND DRIVE" ONLY EXISTS AS A HOLOGRAM ...
IN THE SCREENWRITERS HEAD)
(THE MORE YOU UNDERSTAND "MULHOLLAND DRIVE" ... THE MORE COMPLICATED / COMPLEX IT BECOMES ... YOU HAVE TO WORK YOUR WAY THROUGH IT FROM "A TO Z" ... YOU CAN'T GRASP BETTY AND RITA ARE REDHEADS ... UNTIL AFTER YOU REALIZE THEY ARE COMPOSITES, AND SO ON ... ONE THING I HAVE REALIZED ... DAVID LYNCH MUST BE PRETTY GOOD AT MATHEMATICS)
(IF I HAD TO DESCRIBE "MULHOLLAND DRIVE" IN ONE WORD ... IT WOULD BE "ESCHER")
UNDERSTANDING "MULHOLLAND DRIVE" (OR ANY OF HIS FILMS) IS A COMPLETE "LEARNING CURVE" ... AND YOU HAVE TO WALK BEFORE YOU CAN RUN ... IT'S LIKE ESTABLISHING BASE CAMPS AS YOU CLIMB EVEREST ... YOU GET TO THE TOP ALRIGHT ... PLANT YOUR FLAG IN TRIUMPH ... AND SLIP A FAIR WAY DOWN THE OTHER SIDE THINKING YOU HAVE "KNOCKED THE BASTARD OFF" (AS SIR ED HILARY WOULD SAY) ... BUT THE LAST FEW METERS TO THE SUMMIT ... ALWAYS TURN OUT TO BE A MIRAGE ... YOU NEVER QUITE MAKE IT ... SOMETHING IS BUGGING YOU AS YOU MAKE YOUR DESCENT ... YOU LOOK BACK ... AND THERE'S DOZENS OF FLAGS STRETCHING UP TO, BUT NOT QUITE REACHING, THE SUMMIT ... A LITTLE VOICE SAYS "WE DON'T STOP HERE!" ... AND YOU SMILE AS ALL THESE LITTLE PIXIES START DANCING A HAPPY DANCE IN YOUR HEAD ... AND AS YOU SWING YOUR ICE AXE INTO THE SNOW, AND START CLIMBING BACK UP ... YOU WHISPER ... JUST LOUD ENOUGH SO THE PIXIES WILL HEAR ...
"THIS IS THE GIRL"
AND ALL THE PIXIES LAUGH ... AND DANCE HARDER
(I NOW DESCRIBE LYNCH'S MIND AS "CHALLENGER DEEP")
AFTER I "OVERLAID" "MULHOLLAND DRIVE" ONTO A "MONOPOLY" BOARD (BOARDGAME) -
(UNBELIEVABLE, BUT TRUE - PROBABLY ONE OF THE MOST PROFOUND THINGS I'VE EVER DONE - THE BEST WAY I'VE FOUND TO TRULY UNDERSTAND "MULHOLLAND DRIVE" - I'VE INCLUDED A DIAGRAM AND BREAKDOWN IN MY FULL ANALYSIS)
- I REALIZED WHAT IS ACTUALLY GOING ON - THE MOBIUS STRIP IS CONTINUOUS ... BUT ONLY UNTIL THE COWBOY DECIDES IT'S NOT - BECAUSE THE SCRIPT (ALL THE DRAFTS) IS "GOOD" AND DOES NOT NEED TO BE REWRITTEN
("IF YOU DO BAD ... YOU WILL SEE ME TWICE" - THE COWBOY WILL TRY TWICE TO WAKE THE ACTRESS - SHE STAYS "DEAD" - THE DRAFTS WILL BE REWRITTEN - THE MOBIUS STRIP CONTINUES - WE SEE THIS WITH THE "BRUNETTE" ACTRESS (CAMILLA RHODES) ON THE BED AT SIERRA BONITA)
(IT'S NOT NECESSARILY CAMILLA RHODES ... BECAUSE DIANE SELWYN ISN'T NECESSARILY BLONDE ... AND CAMILLA RHODES ISN'T NECESSARILY BRUNETTE ... THE CONTINUOUSLY REWRITTEN DRAFTS ALWAYS ALTERNATE BLONDE / BRUNETTE ... SO THE ACTRESSES WOULD CONTINUOUSLY ALTERNATE CHARACTERS ... LYNCH IS SHOWING US THE BRUNETTE ON THE BED AND THE COWBOY AS A CLUE ... BUT IT IS JUST AS LIKELY TO BE DIANE SELWYN AS IT IS TO BE CAMILLA RHODES ... AND THAT IS THE POINT HE IS ACTUALLY MAKING)
(AND, AS SOME OF YOU HAVE PROBABLY ALREADY WORKED OUT, LYNCH TAKES THIS TO YET ANOTHER LEVEL IN THE MOVIE, FURTHER COMPLICATING HIS ALREADY MIND-BENDING PUZZLE)
SO THE MOBIUS STRIP CONTINUES - THE ACTRESSES CONTINUOUSLY COMMIT SUICIDE BY DRUG OVERDOSE IN THE LEFT AND RIGHT-HAND DRAFTS - THEY GO TO SLEEP AFTER THE CAR ACCIDENT ... THEN DIE (AT THE END OF THE BETTY ELMS DRAFT - CAUSING BETTY TO DISAPPEAR) - BETTY ELMS AND THE TWO SMALL-TIME ACTRESSES ALWAYS DIE AT THE SAME MOMENT ... AND ARE CONTINUOUSLY REPLACED BY NEW ARRIVALS AT LAX
(ALL THREE DRAFTS EFFECTIVELY END WHEN RITA DISAPPEARS - AND EFFECTIVELY START WHEN LAURA HARRING WAKES UP IN COCO'S GARDEN (BETTY ELMS / SMALL TIME CAMILLA RHODES / SMALL-TIME DIANE SELWYN ALL ARRIVE AT LAX EFFECTIVELY AT THIS MOMENT AS WELL) - THE REASON I DESCRIBE HER AS LAURA HARRING, RATHER THAN A CHARACTER THAT SHE IS PLAYING, IS COMPLICATED, AND FULLY EXPLAINED IN MY FULL ANALYSIS ... BUT THIS SENTENCE ALONE IS A BIG CLUE)
(THIS ACTUALLY PROVES THAT ALL THREE DRAFTS ARE "PLAYING OUT" AT THE SAME TIME ... HENCE "MULHOLLAND DRIVE" IS ACTUALLY A HOLOGRAM)
("IF YOU DO GOOD ... YOU WILL SEE ME ONCE")
THEN WE SEE A DIFFERENT DRAFT - WITH BLONDE DIANE SELWYN ASLEEP ON THE BED - "IF YOU DO GOOD ... YOU WILL SEE ME ONCE" - THE COWBOY HAS DECIDED THE SCRIPT IS GOOD - THE MOBIUS STRIP WILL END
DIANE SELWYN WAKES UP - WE SEE THE BLUE KEY ON THE TABLE - THIS TELLS US SHE IS IN FACT WAKING UP FROM A DRUG OVERDOSE (IT'S AFTER THE CAR ACCIDENT) - WE THEN ARE SHOWN SOME OF THE CAMILLA RHODES DRAFT (BIG-TIME CAMILLA RHODES / SMALL-TIME DIANE SELWYN STORY) IN FLASHBACK
THEN WE SEE SMALL-TIME DIANE SELWYN ...
(OR MORE LIKELY A "COMPOSITE" SMALL-TIME "BETTY ELMS" (BETTY ELMS DRAFT) - (SMALL-TIME DIANE SELWYN AND SMALL-TIME CAMILLA RHODES (BOTH PLAYED BY NAOMI WATTS - JUST AS LAURA HARRING PLAYED THE TWO BIG-TIME ACTRESSES AT THE START OF THE MOVIE ... OOPS! - I WASN'T SUPPOSED TO MENTION THAT YET) AS IT INVOLVES THE OLD COUPLE ASSOCIATED WITH BETTY ELMS)
... SHOOT HERSELF ... AGAIN AT THE SAME TIME BETTY ELMS DISAPPEARS
(WE CAN EITHER SEE SMALL-TIME DIANE SELWYN SHOOT HERSELF ... AND ASSUME THAT SMALL-TIME CAMILLA RHODES IS SHOOTING HERSELF AT THE EXACT SAME MOMENT ON THE OTHER SIDE OF THE MOBIUS STRIP ...
(I NOW THINK THIS IS WHAT'S HAPPENING ... IF YOU LOOK CLOSELY (AND LISTEN) ... THE SCREAMING STARTS BEFORE DIANE SELWYN STARTS SCREAMING - THERE ARE TWO WOMEN SCREAMING ... AND TWO OLD COUPLES TORMENTING (THERE IS DOUBLE THE NOISE WE ARE ACTUALLY "SEEING") - RATHER THAN SEEING THE OTHER SIDE OF THE MOBIUS STRIP ... WE ARE HEARING IT ... BUT THE GUNSHOTS HAPPEN AT THE EXACT SAME MOMENT (THE MOMENT BETTY ELMS DISAPPEARS) - ALL THE DRAFTS START AND END AT EXACTLY THE SAME MOMENT IN TIME - WHEN RITA DISAPPEARS - A SHORT TIME AFTER BETTY - THIS PROVES "MULHOLLAND DRIVE IS A "HOLOGRAM" - NOT A DREAM)
(THIS ALSO MEANS THAT WHEN "RITA" WAKES UP IN THE GARDEN OUTSIDE COCO'S APARTMENTS - SOMETHING VERY IMPORTANT HAS HAPPENED TO HER - AND WE ARE EFFECTIVELY SEEING THE START OF ALL THREE DRAFTS AT THAT VERY MOMENT)
OR WE CAN ASSUME WE ARE SEEING A "COMPOSITE" SCENE (BETTY ELMS DRAFT) - A "COMPOSITE" (EFFECTIVELY SIERRA BONITA "BETTY ELMS") OF SMALL-TIME CAMILLA RHODES AND SMALL-TIME DIANE SELWYN (BOTH PLAYED BY NAOMI WATTS) - SHOOT HERSELF ...
(EITHER WAY, SMALL-TIME DIANE SELWYN AND SMALL-TIME CAMILLA RHODES ALWAYS DIE AT THE EXACT SAME MOMENT ... FROM DRUG OVERDOSE (MOBIUS STRIP) OR GUNSHOT (CLOSURE OF MOBIUS STRIP) ... THE EXACT SAME MOMENT BETTY ELMS DISAPPEARS - ALL THREE DRAFTS START / END AT EXACTLY THE SAME MOMENT - "MULHOLLAND DRIVE" IS A HOLOGRAM)
IT DOESN'T REALLY MATTER ... THE MESSAGE AND POIGNANCY OF THE LAST FEW MOMENTS OF THE FILM ARE THE SAME)
ALL THREE DRAFTS, EFFECTIVELY, START AT THE SAME MOMENT ... AND END AT THE SAME MOMENT
(INITIALLY, THIS SEEMS ILLOGICAL AND IMPOSSIBLE, BUT, AGAIN, THE MONOPOLY BOARD SIMULATION PROVIDES THE ANSWER (THIS IS ALL FULLY EXPLAINED IN THE MAIN ANALYSIS) - BUT THE CLUE ... IF THE BETTY ELMS DRAFT ONLY LASTS A FEW DAYS ... HOW MANY GAMES OF MONOPOLY CAN YOU PLAY ... ON THE SAME BOARD ... AT THE SAME TIME?)
(UNLIKE "INTERSTELLAR" ... WHICH HAS "HOLES" AS BIG AS STAR SYSTEMS ... THERE AREN'T MANY "HOLES" IN "MULHOLLAND DRIVE" ... APART FROM DELIBERATE SCREENWRITING ERRORS ... OOPS! THERE I GO AGAIN ... GIVING AWAY TOO MANY CLUES)
(I AM SURE LYNCH WOULD HAVE STARTED THE TV SERIES ... AND ENDED IT ... EXACTLY THE SAME AS THE MOVIE VERSION ... BUT THE STORY(S) WOULD HAVE PLAYED OUT OVER A MUCH GREATER TIME PERIOD SO HE WOULD NOT HAVE NEEDED TO USE "FLASHBACK")
(I ACTUALLY THINK THE "CONTINUOUS" ("CONVEYOR BELT") MOBIUS STRIP IS A MORE POWERFUL ENDING (FOR REASONS I EXPLAIN IN MY FULL ANALYSIS) BUT I THINK LYNCH WAS FORCED INTO CLOSING THE MOBIUS STRIP PURELY BECAUSE OF THE TIME RESTRAINTS IMPOSED BY THE CHANGE OF FORMAT (FROM TV SERIES TO MOVIE) - THE ONLY WAY TO TRUNCATE THE CAMILLA RHODES DRAFT WAS TO SHOW IT IN FLASHBACK - HENCE HE HAD TO WAKE DIANE SELWYN UP FROM HER DRUG OVERDOSE - BUT THE "CLOSURE" ALSO ADDS ANOTHER DIMENSION TO THE PUZZLE - HENCE THE MYSTERIOUS COWBOY - AND IT CAN ACTUALLY BE ARGUED THAT THERE ARE DOZENS OF "DRAFTS" STILL PLAYING OUT AT ANY ONE POINT IN TIME - AND CLOSING ONE "SET" OF DRAFTS DOES NOT CLOSE THEM ALL - WHETHER THE SMALL-TIME ACTRESSES DIE FROM OVERDOSE OR GUNSHOT, NEW WANNABE VERSIONS ALWAYS TURN UP AT LAX THE MOMENT THEY DIE ... ONE WAY ... OR ANOTHER ... THEY ALWAYS DIE ... AND THE SCREENWRITER ... ALWAYS CHURNS OUT A NEW DRAFT ... THE SMALL-TIME (REDHEADED) ACTRESSES WILL NEVER BE GOOD ENOUGH ... AND THE SCRIPT WILL ALWAYS BE REWRITTEN ... BECAUSE FOR MOST ... HOLLYWOOD IS JUST AN ILLUSION THEY CHASE (A RAINBOW) ...
AND THERE IS ALWAYS SOMEONE ELSE WAITING TO REPLACE THEM AT THE "ROULETTE WHEEL" OF BROKEN DREAMS)
(SO, IN SUMMARY, THE MOBIUS STRIP DOESN'T REALLY CLOSE ... DIANE SELWYN JUST DIES IN A DIFFERENT WAY SO LYNCH CAN SHOW US THE FLASHBACK)
(THE QUESTION I HAVE - WHO IS KNOCKING ON THE DOOR AROUND 4AM IN THE MORNING?)
(I HAVE WATCHED "MULHOLLAND DRIVE" FOUR TIMES IN THE TWO YEARS SINCE FIRST ANALYZING IT - AND EVERY TIME I NOTICE NEW THINGS I HAVEN'T CONSIDERED BEFORE ... LYNCH REALLY HAS SET US THE PUZZLE OF ALL PUZZLES - WHO'S KNOCKING ON DIANE SELWYN'S DOOR AT 4AM?
IT CAN ONLY BE DAVID LYNCH ... TRYING TO TELL HER TO "GET REAL" AND DYE HER FUCKING HAIR!)
THE BODY BETTY AND RITA FIND ON THE BED AT SIERRA BONITA (A REDHEAD "COMPOSITE" OF BOTH OF THEM) ... CAN ONLY BE FROM DRUG OVERDOSE ... BECAUSE THE BODY IS WEEKS OLD ... AND THE SHOOTING ENDS THE MOBIUS STRIP (OR MAYBE IT DOESN'T?)
(NOT ONLY IS "MULHOLLAND DRIVE" THE CLEVEREST MOVIE IN HISTORY ... IT IS ALSO THE MOST (WONDERFULLY) "COMPLICATED" ... WITH "INLAND EMPIRE" PERHAPS BEING THE MOST "COMPLEX" IN TERMS OF "COMPOSITE" CHARACTERS)
PROBABLE TV SERIES: BETTY ELMS DRAFT (1 EPISODE) - FULL DIANE SELWYN DRAFT (5 EPISODES) - RECIPROCAL BETTY ELMS DRAFT (BLONDE / BRUNETTE REVERSED) (1 EPISODE) - FULL CAMILLA RHODES DRAFT (5 EPISODES) - POST CAR ACCIDENT ENDING ... DIANE SELWYN / CAMILLA RHODES KILLS HERSELF (1 EPISODE)
(LYNCH MAY HAVE OMITTED THE RECIPROCAL BETTY ELMS DRAFT SO AS NOT TO GIVE AWAY TOO MANY CLUES AS TO THE MYSTERY ELEMENTS OF THE STORY)
(I HAVE NEVER RESEARCHED LYNCH'S INTENTIONS RE THE TV SERIES - OR THE "PILOT" EPISODE / EXTRAS RUMORED TO BE "FLOATING" AROUND SOMEWHERE - BUT IT BECOMES OBVIOUS THAT THE MOVIE IS A "TRUNCATED" VERSION OF AN ORIGINALLY INTENDED "FULL LENGTH" MOBIUS STRIP - THE ABOVE BREAKDOWN CAN BE ADJUSTED FOR ANY LENGTH TV SERIES - I'M JUST ASSUMING 13 EPISODES WOULD BE SOMEWHAT TYPICAL - BUT IT COULD HAVE BEEN AS LOW AS SIX OR SO ... AND HAVE VARYING LEVELS OF "INTEGRATION" OR "COMPOSITION" (SPLICING / EDITING) BETWEEN THE DRAFTS ... PROBABLY FAR LESS (IF ANY) THAN THE MOVIE VERSION)
(JUST LIKE "MULHOLLAND DRIVE" ... IT SEEMS THE TV SERIES WOULD HAVE MADE AN EXTREMELY INTERESTING PROPOSITION ... BUT IT'S ALSO OBVIOUS THAT THE TV SERIES WOULD HAVE LIKELY BEEN A BIT MORE "FATHOMABLE" (MORE CLUES) THAN THE MOVIE VERSION ... SO WE WERE PROBABLY ONLY EVER GOING TO GET ONE OR THE OTHER ... DESTINY HAS CHOSEN ... AND I THINK "DESTINY" GOT IT RIGHT ... I THINK "MULHOLLAND DRIVE" HAS ALREADY SEALED IT'S PLACE AS ONE OF THE GREATEST FILMS OF ALL TIME)
(I AM ALMOST CERTAIN THAT THE TV SERIES AND THE MOVIE WOULD DEPICT EXACTLY THE SAME STORY - THE GENIUS OF "MULHOLLAND DRIVE" ... IS THAT ... YOU CAN FIGURE THAT OUT)
(TO EXTEND THE TV SERIES ... LYNCH COULD HAVE SIMPLY CHANGED OUT THE ACTORS (BECAUSE THE CHARACTERS ARE IMPORTANT ... NOT THE ACTORS PLAYING THEM) ... AND REVISED THE DRAFTS (STORIES) ... IT COULD HAVE PLAYED OUT TWO OR THREE SEASONS BEFORE PEOPLE STARTED TO COTTON ON TO THE FACT THAT THE HOLLYWOOD "FACTORY" IS CHURNING OUT CLONES - THE NEXT SEASON COULD HAVE HAD MELISSA GEORGE AS THE MAIN CHARACTER FOR INSTANCE ... AND LEE GRANT AS A CASTING AGENT)
(THE COWBOY SEEMS TO PLAY AN "ETHEREAL" MOB / STUDIO "ENFORCER")
EFFECTIVELY
THE CAMILLA RHODES DRAFT AND THE DIANE SELWYN DRAFT COMBINE TO GIVE US:
THE BETTY ELMS DRAFT
THE BETTY ELMS DRAFT GIVES US THE CAMILLA RHODES AND DIANE SELWYN DRAFTS
LYNCH HAS CREATED AN "ESCHER"
(WITH SOME SCHRODINGER CATS THROWN IN)
WILKINS IS ADAM KESHER'S ASSISTANT IN THE CAMILLA RHODES DRAFT - THAT'S WHY HE IS AT THE DINNER PARTY - AND CYNTHIA ISN'T
AND THE INCREDIBLE CLUES ... ADAM WON'T STAY AT CYNTHIA'S ... BECAUSE SHE LIVES AT HIS MOTHER'S APARTMENTS
HE CALLS HER "LITTLE DOGGIE" BECAUSE THE DOG BELONGS TO HER IN THE DIANE SELWYN DRAFT
THE DOG BELONGS TO WILKINS IN THE CAMILLA RHODES DRAFT (AND THE BETTY ELMS DRAFT)
(NOW YOU KNOW WHY LYNCH SHOWS US THE DOG DROPPINGS - TWICE - VIRTUALLY EVERYTHING IN A FILM ... IS THERE FOR A REASON)
IN TWO DRAFTS, WILKINS IS ADAM KESHER'S ASSISTANT
(PRODUCER WALLY BROWN HAS A MALE ASSISTANT ... THERE IS A LOT OF SUBTLE "EQUALITY COMMENTARY" IN "MULHOLLAND DR" ... AND IT'S WHY THE "MONSTER" BEHIND WINKIE'S ... IS PLAYED BY A WOMAN)
(THE "MONSTER" BEHIND WINKIE'S IS ANOTHER MIND BLOWER THAT I WILL LEAVE TO MY FULL ANALYSIS)
WOODY'S LINE "ACTING IS REACTING" IS AN EXTREMELY CLEVER CLUE
IT'S ACTUALLY REFERRING TO RE-ACTING (THE DRAFTS)
LYNCH IS GIVING HOLLYWOOD THE BIGGEST MIDDLE FINGER SALUTE IN HISTORY - AND MAKING ONE OF THE MOST SUBTLE, YET POWERFUL STATEMENTS EVER MADE IN A FILM
HOLLYWOOD WILL EVENTUALLY GET THE MESSAGE
I'M SURE THE PENNY WILL EVENTUALLY DROP FOR CRITICS AT SOME STAGE TOO - THE FACTS ARE STARING THEM IN THE FACE - IT SEEMS TO BE TAKING A WHILE
IT'S BEEN TWO YEARS SINCE I DECODED
"MULHOLLAND DRIVE"
AND SOME OF THEM ARE STILL WRITING UTTER DRIVEL ABOUT IT
I HAVE PUT UP US$2 MILLION FOR ANYONE THAT CAN PROVE ME FUNDAMENTALLY WRONG
(INCLUDING DAVID LYNCH)
I WONDER IF ANY OF THEM WOULD PUT THEIR MONEY WHERE THEIR MOUTHS ARE?
(165,000 VIEWS SO FAR - AND NOT ONE PERSON HAS CHALLENGED ME OVER EVEN A SMALL DETAIL)
ONE DAY SOME PROFESSIONAL FILM CRITICS MAY EVEN PAT ME ON THE BACK ...
AND SAY "WELL DONE" ... LOL
(I WON'T HOLD MY BREATH - FROM MY EXPERIENCE SO FAR, (AND IT'S BEEN OVER TWO YEARS SINCE I DECODED "MULHOLLAND DRIVE"), FEW SEEM TO HAVE THE BACKBONE, CHARACTER, OR INTEGRITY TO DO THAT ... (QUITE FRANKLY, THEY SEEM TO BE IN SOME SORT OF SHOCK OR DENIAL ... REFUSING TO ACKNOWLEDGE AND "BURYING THEIR HEADS IN THE SAND" AS TO THE FACTS I HAVE PUT FORWARD) - THERE ARE FAR TOO MANY POSITIVE PEOPLE IN THIS WORLD ... TO WASTE ANY TIME WHATSOEVER ON THE NEGATIVE ONES)
FILM CRITICS HAVE FAILED TO GRASP WHAT "MULHOLLAND DRIVE" IS REALLY ABOUT FOR OVER 16 YEARS ...
AND NOW, MOST ARE IGNORING MY BLOG, HOPING IT WILL GO AWAY ... OR TRYING TO DISCREDIT IT BY CALLING IT NONSENSE ...
HISTORY WILL JUDGE THEM
(IT'S FILM CRITICS WHO HAVE TO LOOK THEMSELVES IN THE MIRROR EACH MORNING ... AND CONVINCE THEMSELVES THEY ARE "EXPERTS" ON FILM)
(I'VE CONTACTED SOME FILM ACADEMICS - I APPRECIATE THE ONES THAT HAVE FOLLOWED ME ON TWITTER - BUT SOME TWEET TO ME WITH CONDESCENDING COMMENTS WITHOUT EVEN READING MY BLOG)
(TWO YEARS AND COUNTING - I'M CHUCKLING JUST AS MUCH AS LYNCH HAS BEEN ... FOR 15 YEARS HE HAS HAD TO READ SUCH ABSOLUTE DRIVEL ABOUT HIS FILM)
(THE EVIDENCE I PUT FORWARD IN MY FULL DETAILED ANALYSIS IS SO INCONTROVERTIBLE THAT I DOUBT EVEN DAVID LYNCH WOULD ATTEMPT TO REFUTE IT)
"MULHOLLAND DRIVE" IS UNEQUIVOCALLY ABOUT THE DARK, SHALLOW SIDE OF HOLLYWOOD - THE DISCRIMINATION OF REDHEADS - ACTRESSES HAVING TO DYE THEIR HAIR - CHANGE THEIR NAMES (LOSE THEIR IDENTITY) AND SLEEP AROUND TO MAKE IT IN HOLLYWOOD - AND IT CONCERNS ME THAT SO FEW OF THE POPULATION ARE ABLE TO GRASP THIS FACT - EVEN WHEN IT IS COMPLETELY LAID OUT BEFORE THEM, PEOPLE ARE STILL CLINGING TO THE ILLOGICAL DRIVEL THAT HAS PERVADED "LYNCHIAN" ANALYSIS FOR THE LAST TWO DECADES
(EVEN SOME ACADEMICS ... WHO SHOULD HAVE FAR MORE OPEN MINDS)
(AND FILM CRITICS ARE BLOCKING ME ON TWITTER LEFT, RIGHT, AND CENTER ... BECAUSE I AM "ROCKING THEIR WORLD" - THEY DON'T LIKE ME UPSETTING THE "STATUS QUO" THEY HAVE CREATED FOR THESE FILMS ... IN PARTICULAR, HIGHLIGHTING SOME OF THE ABSOLUTE RUBBISH THAT HAS BEEN WRITTEN ABOUT THESE FILMS (IT WOULD FILL A SMALL LIBRARY)
(MOST OF THE NEGATIVITY I HAVE RECEIVED IS FROM PEOPLE WHO HAVE WRITTEN THEIR OWN PIECES ABOUT THESE FILMS, AND HAVE A VESTED INTEREST IN MAINTAINING (ACTUALLY ILLOGICAL) "DREAM" OR "ART" LOGIC - WHICH SEEM TO BE THE DEFAULT "GO TO" EXPLANATIONS OF "DEEP FILMS" ... THEIR INSECURITY IS PALPABLE ... BUT ALL THEY ARE DOING IS DAMAGING THEIR CREDIBILITY ...
THE TRUTH WILL COME OUT EVENTUALLY)
(MY EXPERIENCE OF FILM CRITICS SO FAR - SOME OF THEM AREN'T VERY NICE HUMAN BEINGS, AND HAVE BEEN DOWNRIGHT NASTY)
(IT PROBABLY WASN'T A FILM CRITIC WHO TOLD YOU ABOUT THIS BLOG)
"TEARS IN THE RAIN"
(I'M GETTING SO MANY JOB OFFERS!)
ONE FILM CRITIC SAID TO ME - "WHO THE HELL DO YOU THINK YOU ARE?"
"I THINK I'M THE GUY THAT DECODED MULHOLLAND DRIVE" I REPLIED ...
"WHO DO YOU THINK YOU ARE?"
NO REPLY
(DAVID LYNCH ISN'T THE ONLY ONE WHO CAN DO MIDDLE FINGER SALUTES)
(THERE HAVE BEEN SO MANY OF THESE CONDESCENDING BUT "SO EASILY SHOT DOWN BY FACTS" MORONS THAT PATHETICALLY SCUTTLE AWAY LIKE COWARDLY RATS AFTER THEY HAVE ATTEMPTED TO TOSS A FEW TOXIC BARBS IN MY DIRECTION, AND HAVE BEEN MET HEAD-ON WITH A NAPALM FLAMETHROWER THAT DOES NOT SUFFER FOOLS OR TAKE PRISONERS ... THIS BLOG IS A MORON-FREE ZONE)
I FIND MYSELF SERIOUSLY QUESTIONING THE CALIBER OF SOME OF THE PEOPLE WRITING THESE SO-CALLED "FILM REVIEWS" IN MAINSTREAM MEDIA - FAWNING OVER MOVIES LIKE:
"NOCTURNAL ANIMALS" - A MOVIE ABOUT A WEAK MAN ... WHO WRITES A BOOK ABOUT A WEAK MAN ... WHO THEN BRAVELY STANDS UP HIS EX WIFE - SOME WELL SHOT SCENES BUT LITTLE ELSE
"NIGHTCRAWLER" - I LOVE JAKE, BUT THIS MOVIE WAS VERY WEAK
"ELLE" - A REASONABLY WELL ACTED LEAD, BUT EXTREMELY DISTURBING FILM DEPICTING BRUTAL RAPE IN A TOTALLY UNREALISTIC (ALMOST FLIPPANT) CONTEXT - RAVED ABOUT BY CRITICS, BUT LEFT ME STONE COLD
"UNDER THE SKIN" - SCAR-JO IS USUALLY WORTH A WATCH (BUT EVEN SHE CAN'T SAVE LUC BESSON MOVIES - WHICH, IN MORE RECENT YEARS, HAVE BEEN DIABOLICALLY BAD) ... AND THIS FILM GIVES IT ALL AWAY IN THE OPENING SHOTS AND AUDIO BEFORE THE MOVIE EVEN STARTS - THE ONLY THING I WAS IN AWE ABOUT ... WAS THAT THEY MANAGED TO GET SCAR-JO TO STAR IN IT
(I'M SO DISTURBED BY THE "OXYGEN" GIVEN TO FILMS LIKE THIS, THAT, QUITE FRANKLY, WASTE TWO HOURS OF YOUR LIFE THAT COULD BE SPENT WATCHING SOMETHING SO MUCH BETTER ... THAT I WILL BE STARTING A BLOG OF FILM AND TV RECOMMENDATIONS IN THE NEAR FUTURE ... IT IS ONLY BY PEOPLE BEING CRITICAL AND SELECTIVE ... THAT RUBBISH LIKE "THE NEON DEMON" AND "PASSENGERS" ENDS UP AT THE BOTTOM OF THE BOX OFFICE PILE, AND GETS THE "THUMBS DOWN" IT DESERVES (AND, ULTIMATELY, LEADS TO BETTER STUFF BEING MADE) ... AND I'M SERIOUSLY QUESTIONING AND CALLING OUT CRITICS WHO RECOMMEND SUCH RUBBISH)
WE SEEM TO HAVE BECOME A WORLD OF SHEEP ... THAT BLINDLY FOLLOW POP CULTURE AND SOCIAL MEDIA ... BEING BRAINWASHED BY THE STATUS QUO ... AND LOSING THE ABILITY TO RATIONALLY THINK AND QUESTION THE WORLD AROUND US
THINK ABOUT IT - MOVIES ARE NOT RANDOM - THEY ARE PUT TOGETHER WITH THE PRECISION OF A WATCHMAKER MAKING A WATCH
THERE IS A REASON LINNEY JAMES / LOUISE BONNER / "AUNT RUTH" HAVE RED HAIR - THERE IS A REASON THERE IS A PORTRAIT OF A WOMAN WEARING A SCARF
(SOMEONE WAS ASKED TO PROCURE REDHEADS FOR THE FILM ... IT WASN'T RANDOM THAT LYNCH CHOSE RELATIVELY UNKNOWN BLONDE AND BRUNETTE ACTRESSES FOR THE LEAD ROLES ... ANN MILLER WASN'T RANDOMLY CAST AS COCO ... THERE ARE REASONS LEE GRANT WAS CAST AS LOUISE BONNER ... IT'S NOT RANDOM THAT WALLY AND WOODY WERE CAST AS "OLD-TIMERS" ... IT'S NOT RANDOM THAT THE FIRE TRUCK SAYS "119" - WHEN IT COMES TO MOVIES ... NOTHING IS "RANDOM")
THERE IS A REASON A REDHEAD BRUSHES PAST BETTY AT THE AIRPORT - BETTY AND RITA SEE A REDHEAD GETTING INTO A LIMO AT SIERRA BONITA - THERE ARE SUBTLE REDHEADS WATCHING ADAM KESHER'S AUDITIONS - A BACKING SINGER IS A REDHEAD - THERE IS A REDHEAD DOING WARDROBE - AUNT RUTH'S APARTMENT HAS AN "ORANGE" TONE - WILKINS HAS REDHAIR ... CAMILLA RHODES MOTHER IS A REDHEAD (OF COURSE SHE WAS AT THE ENGAGEMENT PARTY)
(A LOT OF THE MOVIE HAS AN "ORANGE" TONE - LOOK OUT FOR THE NUMBER OF TIMES YOU SEE THE COLOR RED - AND PEOPLE WEARING RED - PARTICULARLY COCO AND RITA)
LOOK OUT FOR REDHEADS / DYED HAIR IN MULHOLLAND DRIVE - COCO - MELISSA GEORGE - THE BRUNETTE AUDITIONING - LINNEY JAMES'S ASSISTANT - CYNTHIA
THE SAD THING IS ... ONE DAY, A JOURNALIST IS GOING TO ASK DAVID LYNCH ... "IS MULHOLLAND DRIVE ABOUT REDHEADS?"
AND THE LADY WITH THE BLUE HAIR
NORMA DESMOND
("SILENCIO" SCENE WAS SHOT IN LA'S TOWER THEATER ... AN HISTORICAL THEATER THAT SCREENED THE FIRST "TALKIE" ... AND NORMA DESMOND HATED "TALKIES" ... "SILENCIO" IS SPANISH FOR "BE QUIET" ... AND GLORIA SWANSON SPOKE SPANISH - AND WHAT HAPPENS IN THE SCENE ... THE SOUND AND IMAGES ARE SYNCHRONIZED ... JUST LIKE "TALKIES")
AND WHAT COLOR HAIR DOES NORMA DESMOND HAVE IN THE STAGE SHOW VERSION?
(LYNCH HASN'T LEFT JOE GILLIS OUT EITHER)
(SUNSET BOULEVARD 1950 WAS SET POST THE SILENT ERA OF MOVIES ... AND ABOUT THE DEVASTATING TRANSITION INTO "TALKIES" FOR AN ACTRESS LIKE NORMA DESMOND ... MULHOLLAND DRIVE IS LIKE A SEQUEL ... THE DEVASTATING TRANSITION POST THE GOLDEN AGE OF "TALKIES" ... INTO THE MODERN ERA OF COLOR MOVIES ... WHERE RED HAIR WASN'T QUITE SO WELCOME)
I TOLD YOU "MULHOLLAND DRIVE" WOULD ABSOLUTELY BLOW YOUR MIND ...
AND I'VE HARDLY GOT STARTED
READ MY FULL DETAILED ANALYSIS ...
IF YOU DARE ...
(FULL EXPLANATION) ANALYSIS LINKS ARE ON THE RIGHT >>>
(THE BLUE BOX - THE BLUE KEY - SILENCIO - WINKIE'S - LOUISE BONNER - MELISSA GEORGE - ADAM KESHER - COCO - BETTY'S AUDITION - EVEN THE DOG DROPPINGS - ARE ALL COMPLETELY EXPLAINED IN MY FULL ANALYSIS)
INARRITU'S "BIRDMAN" ISN'T ABOUT THE THEATER STAGE AT ALL
"THE UNEXPECTED VIRTUE OF IGNORANCE" = DREAM
(THAT'S WHY IT'S SHOT IN "ONE CONTINUOUS TAKE")
THE DREAM OF A PARANOID, DEPRESSED, AND FACIALLY DISFIGURED ALCOHOLIC BRAVELY TRYING TO CHANGE HIS LIFE - UNDERGOING RECONSTRUCTIVE SURGERY IN AN OPERATING THEATER
(OH - DID I SAY HE'S ALSO BLIND)
(NOW YOU KNOW WHY ROLAND BARTHES IS QUOTED IN THE MOVIE
"MYTHOLOGIES" - TAKEN FOR GRANTED REALITIES
AND WHY YOU SEE SO MANY "PHANTOM OF THE OPERA" POSTERS)
LYNCH'S "INLAND EMPIRE" IS A COMMENT ON MENTAL ILLNESS AND THE DEATH PENALTY - THE DIFFERENCE BETWEEN EUROPE AND AMERICA
(LYNCH DOESN'T DO DREAMS ... BUT HE DOES DO MOZART)
("LOST HIGHWAY" IS ABOUT A MENTALLY ILL MAN ... WHO HAS ESCAPED THE DEATH PENALTY ... WHO TRIES TO AVOID HIS REALITY ... EVERY DAY)
"ENEMY" - "THE PRESTIGE" - "INLAND EMPIRE" - "BIRDMAN" - "LOST HIGHWAY"
ALL HAVE A COMMON THEME -
"ESCAPE"
NOT ONLY ARE THESE SIX MOVIES SOME OF THE CLEVEREST MOVIES IN HISTORY - THEY ARE ALSO SOME OF THE GREATEST EXAMPLES OF SCREENWRITING / FILMMAKING IN HISTORY
I'M PERPLEXED / BEMUSED THAT ONLY A SMALL % OF PEOPLE SEEM TO BE ABLE TO GRASP THE INCREDIBLE GENIUS OF THESE GREAT DIRECTORS AND THESE WONDERFUL FILMS ... BECAUSE, EVEN WITH FULL EXPLANATION, MANY SEEM UNABLE TO BREAK FREE OF THE EMPIRICAL TRAP THEY HAVE BEEN LURED INTO WITH THESE MIND BENDING MOVIES ... AND THE SUBSEQUENT BRAINWASHING OF THE UNQUESTIONING "STATUS QUO" ...
(THE NUMBER OF PEOPLE THAT THINK I'M JOKING (OR A NUTTER) WHEN I TWEET TO THEM ABOUT MY BLOG - THE NOTION THAT LYNCH FILMS CAN ONLY BE "SUBJECTIVELY" UNDERSTOOD HAS BEEN SO "ENTRENCHED" OVER THE LAST TWO DECADES)
THE (VERY) SAD IRONY OF MY BLOG ... IS THAT I HAVE COMPLETELY DECODED SIX OF THE CLEVEREST AND MOST OUTSTANDING FILMS IN HISTORY ... GIVING EXTREMELY DETAILED EXPLANATIONS OF EACH ...
AND YET A SIGNIFICANT PERCENTAGE (AND CROSS SECTION) OF THE POPULATION IGNORANTLY DERIDES ME (WITHOUT AN OUNCE OF INVESTIGATION OR RATIONAL THOUGHT PROCESS) ... TRIES TO WRITE ME OFF AS A NUTTER (IT USUALLY BACKFIRES) ... MAKES CONDESCENDING COMMENTS ... OR SENDS ME GIFS LIKE THE ONE BELOW (OR WORSE) ...
IT SHOWS A VERY SAD SIDE OF HUMAN NATURE
"TIME CUBE" IS ANOTHER COMPARISON THAT COMES UP QUITE REGULARLY IN TWEETS I RECEIVE (I HAD TO GOOGLE IT TOO)
I HAVE BROAD SHOULDERS ... I CAN HANDLE THE NEGATIVITY (IT'S QUITE ENTERTAINING ON SLOW DAYS) ... AND USUALLY "NAPALM" THESE MORONS TILL THEY REALIZE THAT THEY ARE HORRIBLY OUTGUNNED BY FACTS AND SOMEONE WHO HAS ACTUALLY DONE HIS HOMEWORK ... AND SCUTTLE AWAY, HURRIEDLY DELETING THEIR EMBARRASSING TWEETS AS THEY GO ...
BUT IT'S STILL A SAD INDICTMENT ON HUMAN NATURE
(ANYONE WHO HAS GOT THIS FAR READING MY BLOG WILL KNOW BY NOW THAT IT'S PRETTY RATIONAL STUFF (THEY MAY STILL BE WONDERING ABOUT "AUNT RUTH" (AND THE PIXIES) THOUGH) ... ANYONE WHO HAS GOT THIS FAR AND STILL THINKS I'M A NUTTER, MUST JUST BE A SUCKER FOR PUNISHMENT, AND WILL NEVER BE CONVINCED ... PEOPLE WHO TRY TO WRITE ME OFF AS A NUTTER, JUST OUT THEMSELVES AS NOT HAVING SUFFICIENTLY HIGH IQ TO UNDERSTAND VERY RATIONAL AND COMPELLING "DECRYPTIONS" OF THESE FILMS - EXPLANATIONS THAT HAVE YET TO BE CHALLENGED ON EVEN A MOST MINOR POINT - AND ARE CURRENTLY DISCUSSED IN ACADEMIA)
(INTELLIGENT ELEPHANTS WILL HAVE PROBABLY ALREADY WORKED OUT WHO "AUNT RUTH" ACTUALLY IS)
(I ANALYZED THESE MOVIES BECAUSE I REFUSE TO BE A "BRAINWASHED SHEEP" ... IN MY LIFE ... I QUALIFY AND WORK THINGS OUT FOR MYSELF ... MAKE JUDGEMENT CALLS ... AND HAVE THE BACKBONE TO STAND BEHIND THEM ... WHETHER THEY ARE MY OWN CALLS ... OR I'M JUST VERIFYING SOMEONE ELSE'S FOR MYSELF)
(I GET A LOT OF THESE (THE REDHEAD IS A NICE TOUCH) ... I QUITE LIKE THESE ... IT'S WHY I NOW MENTION HORSES IN MY BLOG ... NO ONE'S SENT ME AN ELEPHANT ONE YET)
IT'S A SHAME THEY WILL HAVE TO WAIT UNTIL THE "STATUS QUO" ONE DAY REALIZES THE TRUTH ABOUT THESE INCREDIBLE FILMS (OR STOPS SUPPRESSING IT FOR THEIR OWN AGENDAS) ... AND "TELLS" THEM ... IN THEIR "TRUSTED" (BRAINWASHING) MEDIA OF CHOICE ... BECAUSE THEY SEEM TO LACK THE ABILITY TO RATIONALLY PERCEIVE A WORLD THAT IS CHALLENGING THEM - TO GO DEEPER INTO THE RABBIT HOLE (LIKE THIS BLOG) - AND NOT JUST ACCEPT THAT "THE WORLD IS SIMPLE ... AND SOLID ALL THE WAY THROUGH"
(THE MOVIE "GROUNDHOG DAY" ISN'T ABOUT A MAN RE-LIVING THE SAME DAY OVER AND OVER - IT'S A MESSAGE ... ABOUT MAKING EVERY DAY ... THE BEST POSSIBLE DAY THAT YOU CAN ... PHIL RE-LIVES HIS DAY ... TIME AND TIME AGAIN ... UNTIL HE LEARNS THAT LESSON - THERE IS SOME RIDICULOUS SPECULATION ON WIKIPEDIA ABOUT HOW MANY DAYS PHIL ACTUALLY RE-LIVES ... BUT THAT TOTALLY MISSES THE POINT)
(165,000 VIEWS ... BUT VERY FEW ELEPHANTS - WHICH BOTH BEMUSES AND SADDENS ME - IT SEEMS, BY AND LARGE, THE GENERAL POPULATION IS UNABLE TO GRASP EVEN THE BASIC CONCEPT
(THAT IT'S MULTIPLE DRAFTS RATHER THAN A DREAM) OF AN EXTREMELY DETAILED EXPLANATION OF "MULHOLLAND DRIVE" (LET ALONE THE FACT THAT THE CHARACTERS ARE ACTUALLY REDHEADS) - EVEN A SENIOR EDITOR (AND OTHER SENIOR STAFF MEMBERS) AT "BIRTH, MOVIES, DEATH" MAGAZINE THINKS I'M A NUTTER AND HAS ABUSED ME)
(THE REAL NUTTERS ... ARE THE ONES THAT CAN'T GRASP AN EXTREMELY DETAILED EXPLANATION ... WITH VIRTUALLY EVERY CLUE IN THE MOVIE LAID OUT BEFORE THEM ... AND IRRATIONALLY ABUSE ME)
(A PODCASTER RECENTLY READ MY "MULHOLLAND DRIVE" ANALYSIS ... THEN DID A PODCAST ABOUT "MULHOLLAND DRIVE" DISMISSING MY ANALYSIS ... DID HE MISS THE CLOSE-UP OF THE TABLE WITHOUT THE FRUIT BOWL ... THEN WITH A FRUIT BOWL A SHORT TIME LATER? ... DID HE MISS THAT THERE ARE TWO DIFFERENT ACTRESSES PLAYING CAMILLA RHODES? ... DID HE WONDER WHY LYNCH WOULD INSIST ON SHOWING US DOG POOP? ... AT THE TIME, BATTLING THE TV STUDIO OVER IT ... DID HE MISS THAT BETTY'S AUDITION ... IS ACTUALLY FOR A TEENAGER? ... AND WOODY IS WAY TOO OLD FOR THE PART HE IS PLAYING? (CLUES THAT THERE IS A DIFFERENCE BETWEEN ACTORS WE SEE, AND THE CHARACTERS THEY ARE ACTUALLY PLAYING IN THE MOVIE) ... DID HE MISS THAT THE END OF THE MOVIE ACTUALLY MERGES WITH THE START OF THE MOVIE? ... COULD HE REALLY NOT GET THE LOGIC BEHIND MY EXPLANATION?)
(OBVIOUSLY NOT ... IT SEEMS THAT THE "STATUS QUO" IS PROGRAMMED JUST TO DISMISS ANYTHING LYNCH DOES THAT DOESN'T APPEAR TO ADD UP ... AS A "DREAM" ... WITHOUT PROCESSING ANY FORM OF LOGIC OR HEURISTIC EVALUATION TO ACTUALLY BACK IT UP ... IT SEEMS TO BE A CASE OF "ILLUSION OF TRUTH" ... FOR "THE WALKING DEAD" ... AND IT'S SCARY)
(THE "ILLUSION OF TRUTH" IS AT IT AGAIN ... IT SEEMS SOME BRIGHT SPARKS HAVE DEEMED THAT THE NEW SEASON 3 OF TWIN PEAKS IS "IN THE SAME UNIVERSE" AS "MULHOLLAND DRIVE" ... SEEMINGLY BECAUSE TWO ACTRESSES FROM THE ORIGINAL SERIES MAY BE SITTING IN THE AUDIENCE AT CLUB SILENCIO ... AND THEY DO IN FACT LOOK VERY MUCH LIKE THOSE ACTRESSES ... BUT NOW IT SEEMS ACCEPTED AS TRUTH "ALL OVER" THE INTERNET - BUT LYNCH DOES MAKE REFERENCES TO HIS OTHER WORKS (THERE ARE A FEW REFERENCES TO "MULHOLLAND DRIVE" IN "INLAND EMPIRE", INCLUDING AT LEAST ONE "JOKE" SCENE) IN HIS MOVIES, BUT THIS DOES NOT MEAN THEY ARE SET IN THE SAME UNIVERSE ... IT JUST MEANS LYNCH LIKES TO DO IT)
(WHAT I SEE CLEAR AS DAY ... IS CLEAR AS MUD TO A LOT OF PEOPLE ... AND THE ONLY DIFFERENCE IS ... I DON'T JUST OPEN MY EYES ... I OPEN MY MIND ... AND I THINK (IT'S OBVIOUS) A LOT OF US HAVE FORGOTTEN HOW TO DO THAT ... EVEN ACADEMICS)
... DRIVEL IS STILL BEING PUBLISHED ABOUT "MULHOLLAND DRIVE" ... IT'S TAKING YEARS ... BUT EVENTUALLY, THE TRUTH ABOUT THESE MOVIES WILL SINK IN (SURELY?) TO THE MAINSTREAM ... MEANTIME, THIS SMALL, EXCLUSIVE CLUB OF INTELLIGENT ELEPHANTS WILL CONTINUE TO ENJOY HAVING SOMETHING TO CHUCKLE ABOUT ... WHILE THE REST OF THE WORLD CONTINUES TO SPECULATE ... ABOUT "MULHOLLAND DRIVE")
(I WONDER HOW LONG IT'S GOING TO BE ... BEFORE YOU CAN LOOK UP "MULHOLLAND DRIVE" ON WIKIPEDIA ... AND FIND OUT THAT IT'S ACTUALLY MADE UP OF THREE DRAFTS ... AND BETTY AND RITA ARE THE SAME PERSON? ... AS BETTY SAYS - "WON'T THAT BE THE DAY" (FOR HORSES AND SHEEP ANYWAY - "IF IT'S ON WIKIPEDIA ... IT MUST BE RIGHT ... RIGHT?") - BETTER A FEW YEARS (GOING BY THE SMALL NUMBER OF ELEPHANTS SO FAR ... IT COULD BE DECADES) LATE THAN NEVER I SUPPOSE)
(IT COULD ACTUALLY EVENTUATE ... THAT "THE WORLD" (READ "MEDIA") DECIDES TO "STICK" WITH THE FACE-SAVING "NICE, EASY COP-OUT" (BUT FACTUALLY ILLOGICAL) SCENARIO (AND IT'S PETABYTES OF "ACTUALLY DEAD AS A STUFFED PARROT" DRIVEL) - THAT "MULHOLLAND DRIVE" IS A "DREAM" -
- IT'S ALREADY BEEN TWO YEARS SINCE IT WAS DECODED ... AND COUNTING ... AND, SO FAR, THE MEDIA HASN'T BLINKED ... AS IT CONTINUES TO PUMP OUT A BARE FACED LOAD OF HORSE PUCKY (AS COCO WOULD SAY) ABOUT "MULHOLLAND DRIVE" TO AN UNSUSPECTING PUBLIC)
SOME PEOPLE SAY TO ME - "AREN'T YOU JUMPING THE GUN A BIT? ... ASSUMING THAT YOU'RE RIGHT? ... SHOULDN'T SOMEONE VERIFY IT FIRST?"
I TELL THEM THAT THEY SHOULD BE ABLE TO VERIFY IT FOR THEMSELVES (THE EDUCATION SYSTEM SEEMS TO BE LETTING US DOWN BADLY) ...
(ANY "VERIFIERS" OUT THERE PLEASE STEP FORWARD)
(AND WHO WOULD THESE VERIFIERS BE? - ACADEMICS, FILM SCHOLARS, FILM CRITICS? ... THE VERY PEOPLE THAT SHOULD "GET" FILM ... BUT, ACTUALLY, ... DON'T!)
... BUT THERE IS, OF COURSE, ONE PERSON WHO UNDERSTANDS THESE FILMS BETTER THAN ME - (AS I TOLD SHOWTIME WHEN THEY WERE LOOKING FOR A NEW DIRECTOR FOR "TWIN PEAKS") - "GOOD LUCK WITH THAT"
(WE HAVE A DIRECTOR ... WHOSE FILM (16 YEARS LATER) HAS JUST BEEN VOTED "BEST OF THE CENTURY" ... BY PEOPLE WHO DON'T EVEN KNOW WHAT IT'S REALLY ABOUT, BUT ARE STILL ABLE TO REALIZE THAT THEY HAVE WITNESSED SOMETHING TRULY EXCEPTIONAL ... (MANY HAVE WATCHED IT TIME AND TIME AGAIN WITHOUT REALLY KNOWING WHY THEY ARE SO DRAWN TO IT) ... ONCE THE WORLD REALIZES THE TRUE GENIUS OF THIS FILM (AND SOME OF HIS OTHERS) ... I DOUBT THERE COULD BE ANY SERIOUS ARGUMENT, THAT DAVID LYNCH WON'T GO DOWN AS ONE OF THE GREATEST DIRECTORS IN HISTORY ... CERTAINLY, TO MY MIND, THE CLEVEREST DIRECTOR IN HISTORY)
(THANK YOU TO THE ELEPHANTS THAT DO GET IT ... AND HAVE FOLLOWED ME, RE-TWEETED ME, OR GIVEN ME FEEDBACK ON TWITTER)
CINEMA IS A WORLD CREATED BY THE WIZARDRY OF MASTERFUL MAGICIANS
(IN THE CASE OF THESE SIX MOVIES, GENIUSES WHO ARE CLEVERLY TAXING COGNITIVE PERCEPTION TO IT'S LIMITS)
THE WHOLE IDEA OF GOOD CINEMA IS TO CHALLENGE YOUR PERCEPTION ... GET YOU TO THINK "OUTSIDE THE BOX" OF AN INCREASINGLY EMPIRICALLY (MEDIA) BRAINWASHED WORLD ...
(IT WAS JUST FAR TOO EASY (JUST ONE BIG MEDIA ORCHESTRATED "COP-OUT") TO BELIEVE THE "STATUS QUO" - THAT "MULHOLLAND DRIVE" IS A DREAM)
I WOULD SAY ... DON'T JUST OPEN YOUR EYES ... OPEN YOUR MIND ...
AND MAKE JUDGEMENTS FOR YOURSELF
WHICH IS EXACTLY WHAT I HAVE DONE
(IT'S NOT "DO ANDROIDS DREAM OF ELECTRIC SHEEP?" ... IT'S GETTING "ELECTRIC SHEEP" TO "DREAM OF ANDROIDS")
THANK YOU FOR READING ...
FOR THE PEOPLE WHO ARE ABLE TO THINK RATIONALLY, AND DO GET IT, I HOPE YOU TAKE THE FULL TOUR ... BECAUSE ALL OF THESE FILMS ARE ABSOLUTE MIND BLOWING EXAMPLES OF OUTSTANDING CINEMA ...
TRUE MASTERPIECES ...
I'M VERY GLAD TO HAVE SEEN THEM ... AND UNDERSTOOD THEM ... IN MY LIFETIME ...
THANK YOU ...
ALEJANDRO INARRITU - DENIS VILLENEUVE - CHRISTOPHER NOLAN
AND OF COURSE ... WHO I NOW CONSIDER THE CLEVEREST DIRECTOR OF ALL TIME ...
DAVID LYNCH ...
MOVIE ANALYSIS LINKS ARE ON THE UPPER RIGHT >>>
"WATER FOR INTELLIGENT ELEPHANTS"
(MULHOLLAND DRIVE - INLAND EMPIRE - LOST HIGHWAY
THE PRESTIGE - ENEMY - BIRDMAN)
"GO AWAY!"
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