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Just watched Mulholland Drive for the first time tonight, and I'm still running through parts of it in my head. That's the sign of a genuinely good movie; it stays with you for a day or two afterwards. Definitely gave me a lot to think about. While I was watching it I had a hard time making heads or tails out of it, but afterwards the more I thought over it the more it made sense, in a way. Kind of the reverse situation of how your mind can make perfect sense of the "story" of a dream, but when you wake up the concept of it starts to fall to pieces the more awake you become. One thing that I really like about Lynch is his repetition of common elements and themes: coffee, crying people, doppelgangers, stage performances, cowboys, classic American kitsch, dreamy/anxious shots of people in vehicles, emotionally and psychologically significant musical numbers, etc. I wish more directors worked like this. Repetition of images and patterns are part of life, and should be part of good art, too. Does anybody have any thoughts on his use of the color blue as a "mystical" color? I was thinking about it because of the key/box bit in Mulholland Drive, and it occurred to me that he used the same shade to similar effect in Lady Blue Shanghai. And then of course there is Blue Velvet. Are there any other examples that I am forgetting?
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Jun 19, 2015 04:43
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| # ¿ May 3, 2024 10:59 |
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On the head trauma in Twin Peaks line of thought, don't forget scenes such as the final altercation between Benjamin Horne and Will Hayward, Andy getting nailed in the face by a wooden board, the psychiatrist guy getting knocked out, and the final scene with Cooper and the mirror. You could also make a case for what happens to Nadine and Leo as an extension of the head trauma element, but it's more of a stretch than the other examples.
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Jun 20, 2015 17:49
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