Monday, 10 October 2011

Postmoderism - Mulholland Drive

Fig 1.

Mulholland Drive (2001) Director - David Lynch

For anyone that knows Lynch (Twin Peaks, Erasorhead) there will be no surprise that Mulholland Drive doesn't make much sense. It all starts off by giving a false sense of understanding that soon ends up in confusion. Rita (Laura Harring) is the target of a hit gone wrong when the car she occupies is involved in an accident that kills her wouldbe killer and leaves her with no memory. She enters into the life of Betti Elms (Naomi Watts) and together they attempt to piece together who Rita really is. "That sounds like a movie. Sort of. But Lynch's subplots seem to be running in tandem with a different, non-existent story line."  (CNN, 2001) The film swerves from scene to scene that appear to have no connection at all, taking the narrative away from the traditional and into the unconventional.

Fig 2.

There is an impression that, at some point, the film will have some closure, a closure which never happens. All the setting up of the interwoven plots, that give an impression that there will be a climax you never would have never guessed, turn into deadends. "That is, until it suddenly and stupidly decides to switch characters' identities" (Time Out, 2001) You are then cemented with the idea, that somehow nothing will become clearer and you're left feeling frustrated and emply at all the loose ends.

Fig 3.



Mulholland Drive, CNN, 2001, [Online] avaliable at [Accessed 10 October 2011]

Mulholland Drive, Time Out, 2001, [Online] avaliable at  [Accessed 10 October 2011]

Image Bibliography

Fig 1 . Mulholland Drive, DVD cover, 2001, [photography],0,214,317_.jpg

Fig 2 . Mulholland Drive, Movie Still, 2001, [photography]

Fig 3 . Mulholland Drive, Movie Still, 2001, [photography]

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