![]() However, the movie is totally baffling unless you have some guidelines. The plot is secondary for Lynch since cinematic art is his focus. Watts usually gets roles that don't allow her to display her considerable acting skills, but this role does, and she more than meets the challenge. Naomi Watts gives us an outstanding performance - better than the typical "Best Actress" Oscar award winner's performance in the last 20 years. ![]() Mulholland Drive has enough organization and structure, with more skillfully accomplished fantasy, to qualify it as good art. The film Holy Motors presents pure fantasy in nonsensical and unrelated sequences, and is bad art. I can imagine Lynch laughing in the background as he plays his joke on the viewer. Lynch's genius is in his artistic slight of hand where he presents a fantasy scene realistically, sucking the viewer in to expecting a meaningful depiction, then upending these expectations in shocking the viewer with the fantastic elements of the scene. Then there is a shift in the plot, from the fantasy of the first part, to the reality of the second part where roles and identities are reversed and reality reigns. Mulholland Drive starts off logically but then gradually abandons logical coherence as dream-like (but realistically presented) sequences are brought into the plot. This technique reminds me of Fellini's 8 1/2, where fantasy was often interspersed with a logical and coherent plot. Blue Velvet is his best film, and works well because of its overall logical coherency spiced up by fantastic deviations from the norm (the fantasy element of the film). Lynch loves to realistically portray logical sequences interspersed by fantasy diversions, which entrances but confuses the viewer. Wilkins agrees, and after hanging up, he yells at his dog crouched in a corner about relieving himself all over the place. There is another scene introducing Wilkins (Scott Coffee) who lives in a studio loft above Betty Elms's apartment where Adam phones him just before his meeting with the Cowboy and telling Wilkins about finding his wife in bed with the pool man, and asks Wilkins if he could come over to stay for a while since he has no money.Kenny then is shown breaking all of Adam's golf clubs as payback for trashing the limo and then leaves telling the gangsters in the back of the limo that Adam's not home. A bit scene where after the bruiser Kenny knocks unconscious Adam's wife and the pool man, he walks around Adam's house and sees Adam's wife's jewelry in the kitchen sink which is overflowing with water.The scene ends with the Castigliane brothers leaving first and Adam yelling at the executives over them rigging the casting of the lead actress and about the film being kept locked up in the studio safe. ![]() ![]()
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