Ja lično sam se, nakon prvog gledanja, zapitao, wtf se desava sa prvim dijelom filma.

Mada razumijem zašto se neki pitaju wtf se desava sa posljednjom trećinom.

Bilo kako bilo, možda da nam kažeš koje je tvoje razumijevanje prvog dijela filma, pa da možda prodiskutujemo. Ne bih se zavaravao da ćemo bas povezati sve djelice jer Linch je jedan od rezisera koji ne radi tako da postavi 100% logican zaplet i da direktno gledaocu sruci u lice logicne odgovore na sve. On radi na podsvjesnom nivou, kao i mnogi drugi umjetnici (reziseri), mada ih je sve manje takvih danas. Ponekad, kao sto je slučaj u ovom filmu, on taj rad njegovog podsvjesnog donekle podvrgava preciznijim i pitkijim rjesenjima. E sad serem na visokom nivou, ali, iebiga, mora se nekad.

Stvarno mislim da je ovo jedan od pitkijih Linchovih filmova. Ja se ne svrstavam u njegove najvece obozavaoce, ali mislim da mu je ovaj film rijetko genijalno remek djelo i jedan je od mojih omiljenih filmova.

I, da dodam, ovaj film je realizacija cjelokupnog glumackog potencijala Naomi Watts. Mnogi veoma dobri glumci nisu i nikad neće imati sansu da snime film koji u potpunosti pokazuje njihov kompletan glumacki talenat. Da nikad ništa vise nije snimila, Naomi Watts bi sa ponosom mogla da kaže da je ovaj film zaista sve sto je trebalo da snimi. Meni nikad poslije nije bila ni blizu ovoga.

Dakle;

1. Prvi dio je san glavne junakinje cije ime je Diane.

2. Drugi dio, od otvaranja plave kutije plavim kljucem, je šta se zaista desilo.

And, that's it, sve je objašnjeno u dvije recenice. :)

„Pretty girl”

Hvala ti mnogo, babette.

Hvala, pretty girl. :)

But I'm in the mood. :))) I ti i mene sada potpuno pronasla jednom recenicom. Meni je film sjeo k'o budali samar. I na prvo gledanje, mada sam imao određeni wtf moment, a i poslije barem 20 puta. I gledaću ga veceras opet nakon ponoci jer sam inspirisan.

Napisao bih covjeku „spoiler alert”, ali on je već odgledao film, tako da, tehnicki govoreci, nema tu nikakvih spoilera.

Ili možda ima? :)

Kako uopste definisati spoiler u jednom ovakvom filmu koji je radjen na podsvjesnom nivou?

Grubo receno, sve si vidio, ali da li si zaista sve vidio?

Film je gomila smeca, jer se Linc neposteno poigrava sa tako vaznim snovima pa i halucinacijam. Može mu se pre je to odradio, a sad podmetnuo kukavicije jaje. Niti je daydreaming niti delirijum
umiruceg mozga. Ima mnogo potrpanih detalja ko zna zašto snimanih. Prosto recimo neko ko unajmljuje profesionalnog ubicu bi sacekao da vidi rezultat osvete pa se onda možda ubio.

Markiz, možda se poslije upustim u analizu gomile smeca.

Nemam iluziju da ću te razuvjeriti u bilo koje od tvojih mišljenja, ali film zaista zasluzuje malo podrobniju analizu.

Slazem, se da se Linch na momente igra, ali, barem u ovom filmu, ova igra mu ima cilj. Ili možda podcilj, možda je to bolja formulacija.

I posto meni taj cilj (podcilj) ima dosta snažnu poruku, meni je i ta Linchova igra opravdana.

Moje je mišljenje (uvijek) da stvari treba posmatrati veoma prosto i onda ih obojiti osjecajima, percepcijama i ostalim sto zivot čini zanimljivim.

Tako da krenemo od početka, pravolinijski.

Prije nego sto je zaspala, na imaginarnoj hronoloskoj liniji njenog zivota, šta se bitno dogodilo sa glavnom junakinjom Mulholland Drive?

Sve sto je manje-vise opisano u drugom dijelu filma, kroz fleshbekove.

Koliko se sjecam;

Ona je iz neke vukoiebine u Ontariju i dobija neki novac u zaostavstinu od tetke i odluci da ga potrosi tako što će otici u Holivud i pokusati da postane glumica.

Nakon nekog perioda, na nekoj audiciji, sreće neku Kamilu, koja ima otprilike sličnu sudbinu. Razlika je sto na toj audiciji Kamila dobija tu ulogu za koju su se takmicile.

Njih dvije se smuvaju, samo, koliko se sjecam Diane je lezbejka po seksualnom opredjeljenju, a Kamil je vise za seksualne eksperimente.

Kamila je tipican primjer osobe koja je, sto bi rekli Englezi, goal-getter, do cilja preko leseva. Diane je povucenija, neuglednija. Njihova veza je vise produkt strasti nego ljubavi.

Kamila ima namjeru da se penje na holivudskoj ljestvici jer se smuva sa reziserom filma za koji je dobila ulogu. Ništa je ne može zaustaviti. Prekida vezu sa Diane.

Diane unajmljuje profesionalnog ubicu da ubije Kamile.

Tu pocinje san. Tu pocinje i film.

Ja nikad, ili veoma rijetko, čitam analize bilo čega.

Osoba sam koja voli da se zabavlja sa mojim tumacenjima.

Pogotovo ne volim „clues”. Ti detalji oko kojih se ljudi zabavljaju, u vecini slučajeva, odvracaju ljude od otvaranja njihovog sopstvenog mozga.

Na kraju krajeva, sto bi i mnogi umjetnici koji rade na pdosvjesnom nivou potvrdili, nije uopste važno šta njima film predstavlja nego šta svakom pojedincu lično predstavlja.

That's the beauty of it. :)

Linch u njegovom svijetu;

Da li je moguće da smo mi drustvo, uglavnom, pretpostavljam, da se misli na zapadno drustvo, kojem su čak i snovi postali kliseizirani, kojem su snovi postali robovi holivudskih igrarija sa nama?

Zar je moguće da čak i nas san mora da bude ova holivudizirana „pursuit of happiness” pyzdarija koju nam politicari svakodnevno prosipaju kao najvecu vrlinu našeg drustva.

Pa tu je regularno i sasvim nemoguć zaplet, pa „damsel in distress”, koju glavni junak (junakinja) stiti i cuva i mazi. I glavni je heroj. I savrseno kliseizirana ljubavna scena i „volim te” i bla bla bla. I perfektan soundtrack za naše zivote.

Ako je to istina, onda ste vi koji gledate ovaj film to omogućili.

Ako ste dozvolili mejnstrimu Holivuda da iskliseizira čak i vase snove, e onda ću se i ja malo igrati.

Prvi put kad san glavne junakinje skrece sa putanje klisea samozadovoljstva je kad ipak ne dobija ulogu u snu. Naime, to se donekle podudara sa njenim siebanim zivotom. Mada je u snu neka visa sila kriva za to. Kao, ma ja sam najbolja, ali me vise sile sprijecavaju da ostvarim potencijal.

Tu njena podsvijest donekle pocinje da radi. OK, san ipak ne bi trebao da bude klise, wake the fyck up!!! Ovaj san nije vrijedan sanjanja.

I onda dolazi trenutak kad njih dvije ulaze kucu (njenu dusu) gdje smrdi.

Još malo se ona nakon toga odupire, da izrezira perfektnu ljubavnu scenu sa perfektnim ljubavnim interesom (damsel in distress).

Nakon toga;

Silencio!!!! Tisina, iebote!!!!! Dosta beskrajnog holivudskog bukoproizvodjenja i ajde da zaista vidimo ko smo i šta smo.

Da se dopunim, ladies and gentlemen. Naomi je rođena da je ja gledam u Mulholland Drive na DVD u noćis ponedeljka na utorak.

I mi geniji nekad se zaebavam.

Evo mene opet na drajvu. :)

Sa pitanjem.

Da li ste ovdje ikada raspravljali o Dead Man?

Još jedan film o kojem mogu 20 postova a da i ne trepnem.

Ali neću.

pato bre, ti radish ki u normu. a ja ne mogu da kidnem s posla pola sata ranije (a možda bi i mog'o, a?) ostatju ovdena do pola pet a onda pola sata da se vaginim na autobuskoj stanici do centra. debela cikovina u carsko selo, a ovde kod mene na radnom mestu josh deblja. jutros bilo -17 a ovde barem josh tri stepena nize. obuko sam debele zimske gatje da mi ne odvugnu kolenca i kapisla, al' ne vredi - na svaki petnaes' minuta idem da mocham...
kol'ko se ja setjam bilo je priche o filmu ali ne neshto posebno, al' nema si vezu - udri brate, treba pache da chita i da se zanima do kraja radnog vremena. a ja odo sad...

čim se vi toliko pitate o ovom filmu, to znači da je mnogo glup. i samim tim nije vredan gledanja.

:)

MarkizDeNoviSad
(Sinter)
30. januar 2012. u 18.21
Film je gomila smeca

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Da, ali visoko stilizovano, intrigantno smece u mnogo slojeva - dakle nije smece uopste.

dolazi vrijeme, ko je kauboj u filmu, šta on predstavlja pravdu ili savjest?

zašto baba i deda iskacu iz muzicke kutije, na kraju,zašto su oni bitni?

Da mi oprostite na oduzivanju.

Već sam u prvom postu na ovom topiku napomenuo da nakon prvog gledanja meni prvi dio filma nikako nije bio logican, ne samo prije nego sto nas Lynch uvodi iz te fantazije u stvarni zivot, nego i poslije.

I kapiram da sam možda uradio početnicku grešku kad gledaš ili čitaš nešto, a to je da veoma ozbiljno uzmes u obzir u ko nam prica ono sto nam prica. Ili ko fantazira ono što se fantazira.

Lynch (ili ja sam sebe) me je zamalo odveo na istu stranputicu u Lost Highway.

Ne fantazira David Lynch, nego njegov lik, koji je prezivio odredjene mentalne strahote. Tako da simbolika fantazije, koja kreće kao jedan divan klise (ili možda nestvarni ideal), ali zavrsava u katastrofi suocavanja sa samim sobom, mora imati stvarnu podlogu.

I neke stvari su ocigledne, ali neke bas i nisu.

Cudoviste iza zida je ocigledno. To je ono demonsko, koruptirano, u glavnom liku.

Ali

Uvijek mi je bila cudna ta uloga rezisera idealiste u njenoj fantaziji. U sekvencama u kojima se on pojavljuje, desavaju se vrlo cudne stvari. Iz cista mira, onaj gangster se drekne „Help me!!!!!”

Brak mu se raspada, a lik koji mu iebe ženu je nestvarno hladnokrvan kad izgovara: „Just pretend you never saw it” ili tako nešto.

Kauboj se pojavljuje out of the fycking blue i govori najbesmislenije stvari.

Kauboj je meni uvijek izgledao kao vrlo pokvaren lik, da se razumijemo.

I imao sam određeni predosjecaj da je taj reziser u fantaziji zapravo isto ona, ali opet mi sve nije imalo prevelikog smisla. I onda mi je jedan lik dao tu istu misao. Reziser je ona prije nego sto joj je potpuno unistena nevinost i naivnost.

Evo, ko cita engleski, procitajte ovo, pa pogledajte film ponovo. Garantujem da će vam se kosti smrznuti minimum 150 puta od onoga sto je Linc napravio sa ovim filmom.

Nisam pristalica ovoga, jer mislim da se treba zadrzati mistika sopstvenog tumacenja, ali što se ovog filma tiče, ta teorija pada u vodu.

THE DIANE SELWYN STORY BY ALAN SHAW

With this as a backdrop, I can begin to outline what I believe to be Diane Selwyn’s chronological story line in Mulholland Drive as revealed with complex plot devices and veiled imagery throughout the movie.

Both the mother and father of Diane Selwyn died when she was very young, so she went to live with her grandparents. Tragically, at some point during her childhood she was sexually abused by her grandfather. Diane's grandmother eventually found out about the abuse and she made Diane the scapegoat, and told her never to speak of it again. The damage this did to Diane was enormous. From that point on, Diane always believed there was something wrong with her. However, she had an aunt named Ruth who still believed in her. Her aunt lived in Los Angeles where she had a successful career working in the movie business. Her aunt became an inspiration to her, giving her hope that she could one day escape her circumstances and make it in the same world in which her aunt lived. And because her aunt knew that she had this goal, her aunt set aside money in her will for Diane that would go to help Diane pursue her dream.

Although Diane tried to repress the memory of the abuse, her relationship with her grandparents never recovered, and Diane did not feel loved by them. But when she got older, something happened that helped to produce a new and more pleasant dimension to their difficult relationship. When Diane was a young adult, she won a Jitterbug contest in Canada. Her grandparents were very happy about this and they seemed to suddenly believe in her again. It was as though she could win their love back as long as she was a star. They even encouraged her to pursue her dream to go to Hollywood. And then her aunt died, and Diane flew to Los Angeles with the money she received from the will.

Her aunt had worked as a casting agent, but Diane wanted to be an actress. Her childhood had been so horrible that she fell in love with the idea of being able to become someone else during a film. This led her to decide that in principle her focus was on becoming a great actress, instead of a star. But deep down she also hoped that stardom would follow, because that was what held the secret to making people love her. However, as an unknown all alone in Hollywood she had trouble getting any acting roles, big or small. After a period of time, Diane was becoming very discouraged and her Aunt's money was beginning to run out. So she moved into room #16 at the Park Hotel. It was a cheap hotel in a rundown area of Los Angeles. She also got a job as a waitress at a Winkie's diner. But the money from Winkie's was not enough even though where she was living was not very expensive. When she could no longer pay the rent, Cookie, the manager of the hotel, visited her one night and let her know that she was going to have to pay him somehow.

She became desperate, and someone told her that she could make some fast money by joining a call girl operation. One thing led to another, and Diane agreed to be placed in the pimp's black book. She gave in because her previous abuse as a child made her feel like there was something inevitable about being treated like a sexual commodity. Her self-esteem was devastated by this turn of events in her life. She began a habit of smoking when she was going out with her Johns. Yet, her bills were finally being paid. Eventually she quit working at Winkie's and moved out of the Park Hotel into a nicer place at 2590 Sierra Bonita, Apartment #12.

Even while she remained in the call girl business, Diane continued to pursue her dream of becoming an actress. And finally it seemed like she might get her wish. Someone named Wally Brown, who was an old friend of her aunt's, agreed to let her tryout for the lead part in a movie he was having made. The movie was called „The Sylvia North Story” and it was not a major production, so lesser known actresses were being given an opportunity to audition for the lead. The film was about a young woman who had suffered through sexual abuse in her childhood. Getting the part meant everything to Diane since it had a connection to her own life story. And, of course, finally becoming an actress would give her some deeply needed validation and it might even free her from her dependence on the call girl business. Sadly, the director of the movie, Bob Brooker, was not impressed with her so she did not get the part. The woman who got the part was named Camilla Rhodes, and she won the audition by playing the role more seductively than Diane. Diane was impressed with Camilla's ability to heat up what she thought was „such a lame scene.” With a glow of admiration in her eyes, Diane told this to Camilla, and the two became good friends.

Even though Camilla had gotten the part, it was a low budget movie and Camilla was still struggling financially. So Diane and Camilla decided to become roommates to share their living expenses. At some point, while living together, they went from being friends to becoming lovers. For Diane, who had only had extremely bad relationships with men, Camilla became a fixation. She loved Camilla deeply and to some extent, because of her low self-esteem, she began to want to become like Camilla. Camilla got good reviews for her sexy portrayal in „The Silva North Story,” and was eventually offered starring roles in other low budget movies. Unlike Diane's career, Camilla career was actually moving forward. And although she did not love Diane, she thought of Diane as her number one fan and enjoyed living with her. However, Diane's fixation was growing into an obsession.

Because of their relationship, Diane asked Camilla if she could try and get her roles in some of Camilla's movies. Camilla said she was willing to do this, but there was a catch. Diane would have to sleep with some of the movie executives. After all, Camilla reasoned, Diane was a call girl, and even Camilla was willing to do this once in a while. In this way, Camilla revealed that she was an opportunist and she became like a pimp to Diane, arranging for her to sleep with important men in order to promote Diane's career in small ways, while in more serious ways also promoting Camilla's career. Although unhappy about this, Diane would do anything to be in a movie and she would also do anything for Camilla. Diane continued to profess her love for Camilla, but Camilla never reciprocated.

This arrangement went on for more than one movie. Then Camilla finally got a lead role in a more mainstream film being directed by Adam Kesher. Because it was a mainstream movie, Camilla finally had enough money to pay for her own place. So she moves out of Diane's apartment, although Camilla does not officially break up with Diane yet. However, Diane is still devastated, and she begins to get very depressed about being alone in Apartment #12. At some point, Diane begins to see a psychiatrist because of her depression. Since Diane is so depressed in #12, the psychiatrist hoped that maybe moving to another apartment would help. Diane had a friend who was a neighbor named L. J. De Rosa, who is living in Apartment #17. De Rosa had witnessed how depressed Diane had become after Camilla moved out. And so when Diane asked De Rosa if she would be willing to switch apartments with her, De Rosa agreed to do so out of compassion. However, De Rosa was not entirely happy with the apartment switch because she saw that Diane was still in a relationship with Camilla, and she thought that was really the cause of Diane's problems.

Camilla was still actively pimping Diane, and she got Diane yet another small part in the film Adam was directing by having her sleep with an executive named Luigi Castigliane. Adam had recently gone through a difficult divorce and he and Camilla hit it off. Moreover, Camilla and Adam began seeing each other, even while Camilla and Diane were still in a relationship. At times, Adam and Camilla would show affection for each other even on the movie set. Diane could not help but feel jealous about this, but she was hopeful that her relationship with Camilla would survive. After all, Camilla had stayed with her for a long time even though they both had been involved sexually with her men during that time. However this logic did not turn out to be sound. Camilla began giving Diane hints that she was ready to break up with her. And then one day when Camilla was visiting Diane at Apartment #17, while the two of them were making love, Camilla told Diane that they must end their relationship. Diane got upset and then tried to force herself on Camilla. That just made things worse and Camilla became more insistent that it was really over. Diane got hysterical and then threw Camilla out.