mullholland drive, visto al cineclub Lumière con Emy prima di andare a vedere i Dead And Gone. Non sono un estimatore di Lynch, anzi, non l'ho mai potuto sopportare, ma devo ammettere di aver apprezzato MD non poco. Pur non avendolo capito. Perché, quello che non ho mai potuto sopportare di Lynch, è il fatto che i suoi film sono fatti apposta per non essere capiti. Lui non narra. Lui Ti fa credere che sta narrando, ma prima della fine del film ti rendi conto che ti ha preso in giro per più di tre ore.
Il giorno dopo ne parlai con Stefania, l'assistente del mio prof., nota cinefila, che per aiutarmi mi fece pervenire queste tre interpretazioni del film. Se vi possono interessare:

La prima:
For those who had trouble reconstructing Mulholland Drive's plot into story
upon first viewing, here is a possible reading: Diane (Naomi Watts) wins a
foxtrot contest in the Midwest and follows her acting aspirations to Los
Angeles. Camille Rhodes (Laura Harring) beats her out for a movie audition,
but the two become friends and later lovers. Diane watches Camille start to
drift away and become involved with her director, Adam Kesher (Justin
Theroux). Camille starts refusing Diane sex, and invites her to a party
thrown on Mulholland Drive by Adam. At the party, Camille and Adam announce
their engagement; also, Diane meets Adam's mother (Ann Miller), sees a girl
(Melissa George) kiss Camille, and notices a cowboy (Monty Montgomery) walk
by.

Diane's obsession with Camille deepens. She goes to a restaurant named
Winkie's to pay a hitman (Mark Pellegrino) to kill Camille. He tells her he
will drop off a blue key when the contract has been fulfilled. At some
point, Diane switches apartments with her neighbor. In her new apartment,
she goes into deep depression, sleeping for three weeks in the fetal
position.

There she dreams up an elaborate fantasy. In that dream, Camille is split
into two characters. The first, later identified as Rita, is involved in a
car accident on Mulholland Drive (the same location as the party) and loses
her memory. She takes sanctuary in an empty apartment, in a complex run by
Coco (Justin's mother). Betty (Diane's alter ego) arrives in Los Angeles and
goes to stay at that same apartment, left vacant by her aunt. There, she
meets Rita and chipperly decides to help Rita get her memory back. They find
money in Rita's purse (just as we had seen it in Diane's when paying the
hitman) and a strange key (similar in color but not shape to the hitman's).

Meanwhile, the director, Adam, is being pressured by a secret syndicate to
recast his lead actress. They want him to choose a girl named Cammie Rhodes
- the second part of Camille's split-by-Diane personality, played by the
woman who Diane saw kiss Camille - but he refuses. Going home, he catches
his wife cheating on him. Adam retreats to a shoddy hotel, where he
discovers his bankruptcy at the hands of the syndicate, and learns he must
meet with a man called "The Cowboy." He does, and the idea is reinforced
that he must choose Cammie Rhodes for his lead.

Many of the sublots revolve around a diner named Winkie's. In one, a man
(who had been at the register when Diane paid the hitman) recalls his vision
of doom to his psychiatrist. In another, the hitman, now working for the
syndicate, searches for Rita, killing an old friend and questioning a
prostitute (dressed in an outfit similar to the one Diane wore to meet the
hitman). Betty and Rita go to Winkie's, where the waitress's nametag (which
said "Betty" when Diane met the hitman) reminds Rita of a possible lead to
her past. They look up the address belonging to that name and decide to go
there after Betty's audition the next day.

At her audition, Betty is excellent, garnering the attention of a talent
scout, who whisks her away to the audition for Adam's movie. But Adam
concedes to casting Cammie Rhodes before Betty can audition, although he is
obviously drawn to Betty. Betty leaves in order to go with Rita to see the
mysterious Diane. They find Diane dead (in the same position Diane is
sleeping) in her apartment.

Betty and Rita go home, awkwardly admit an attraction to one another, and
make love. Rita cries out "silencio" in her sleep, insisting they go to a
performance art theater. There, Betty weeps as a woman sings beautifully,
but the evening's performances imply that nothing they see is real. Upon
finding a strange blue box in Rita's purse, they rush home.

Once home, Betty disappears, and Rita opens the box with the blue key, only
to be sucked inside. The dead Diane of the dream is told to awaken by the
Cowboy, returning Betty to her physical body.

Now, the dream is over, and Diane wakes to brew some coffee. Her neighbor
comes over to pick up dishes left behind in the apartment switch. Diane
brutally masturbates on her couch and flashes back to her experiences with
Camille: making love, going to the party, visiting her on set as she flirts
with Adam. Her short scenes in the apartment are the only ones that we can
take as happening "now," unclouded by Diane's memory or fever dream. At the
end, regret and hallucinations overcome Diane, and she shoots herself.

Un'altra (un po' meno convincente)
At the beginning of Mulholland Drive, Camilla Rhodes (Laura Harring) is held
at gunpoint and perhaps almost killed, before a car of screaming,
drag-racing teens slams into Rhodes's limo. Camilla, stumbling like a broken
doll, emerges from the accident an amnesiac. The first part of the film--the
"Fantasy" section--exists half in reality and half in Camilla's mind. The
second part, which begins after we enter the blue box in a trademark David
Lynch moment, is Camilla awakening from her amnesia (Waking Reality) and,
still partially dreaming, trying to put the pieces of the puzzle together.

In order to put the pieces together, it is important to begin at the end, in
the brilliant final act of Mulholland Drive, which is as strange as the
finale of 2001: A Space Odyssey, and just as successful. This act seems to
be told from the point-of-view of Diane Selwyn, but truly exists in Camilla
Rhodes's memory. The story is rather simple: lesbian lovers Selwyn and
Rhodes are being torn apart by Adam Kesher (Justin Theroux), a film director
who we see has become romantically involved with Rhodes. Diane Selwyn
becomes increasingly jealous, which sends her on a downward spiral into
madness and suicide. Before this, however, she puts a hit on Camilla, which
leads to the foiled murder attempt that begins the film.

Camilla doesn't know about Selwyn's suicide when the car accident occurs.
Not remembering anything, even her name, she stumbles into a Hollywood
apartment, which is inhabited by Betty (Naomi Watts, who also plays Diane
Selwyn), an aspiring actress who, in a brilliant audition scene, proves that
she really can act. This is at the beginning of Mulholland Drive, the
"Fantasy" section. Not remembering her name, Camilla adopts "Rita," from a
Gilda poster featuring Rita Hayworth. Betty bears the likeness of Diane
Selwyn because Camilla is trying to remember Selwyn, and Betty is a
subconscious reminder of her. Triggered by this vague recognition and by a
waitress's name tag, Camilla ("Rita") finally remembers a name: Diane
Selwyn. She and Betty visit Selwyn's apartment and discover her body, dead
from the suicide that ends the film.

The second part of the Fantasy sequence is an unfolding dream revolving
around the director, Adam Kesher, who is forced by an odd, pinhead-lead,
Espresso-snob mob to cast none other than Camilla Rhodes as the lead actress
in his film. What is this? The manifestation of Camilla's subconscious
insecurity in her real-life relationship with Kesher? And even stranger,
Camilla is now played by Melissa George, who also makes an appearance in the
party scene of the "Waking Reality" section, kissing Camilla (as played by
Laura Harring). And when Kesher first sees Selwyn-lookalike Betty at the
audition, it is love at first sight, brilliantly punctuated by Connie
Francis's "Sixteen Reasons."

The rest of the "Fantasy" sequence is peppered with more of Camilla's
recollections in the form of truly fascinating dream sequences, which may
not have anything to do with the "narrative" of Mulholland Drive, but like
any good dream, we dwell on them and never want them to end. The highlight
of these scenes is set in Club Silencio, where we witness an odd
lip-synching ritual and an extraordinarily powerful Spanish acapella of Roy
Orbison's "Crying" by Rebekah del Rio. This is also where Lynch introduces
the blue box.

Camilla opening the blue box sends us spiraling forward into "Waking
Reality," in which everything seems to go haywire. David Lynch keeps us
off-course throughout the film by making it seem like it is told through the
eyes of Betty, Kesher, and Selwyn, when it is really half-inside the mind of
Camilla Rhodes the entire time. And if everything doesn't quite fit, it is
because Mulholland Drive never exists in a palpable reality. However,
through the film's own breed of logic, it all makes perfect sense.

numero 3
At the beginning of Mulholland Drive, Camilla Rhodes (Laura Harring) is held
at gunpoint and perhaps almost killed, before a car of screaming,
drag-racing teens slams into Rhodes's limo. Camilla, stumbling like a broken
doll, emerges from the accident an amnesiac. The first part of the film--the
"Fantasy" section--exists half in reality and half in Camilla's mind. The
second part, which begins after we enter the blue box in a trademark David
Lynch moment, is Camilla awakening from her amnesia (Waking Reality) and,
still partially dreaming, trying to put the pieces of the puzzle together.

In order to put the pieces together, it is important to begin at the end, in
the brilliant final act of Mulholland Drive, which is as strange as the
finale of 2001: A Space Odyssey, and just as successful. This act seems to
be told from the point-of-view of Diane Selwyn, but truly exists in Camilla
Rhodes's memory. The story is rather simple: lesbian lovers Selwyn and
Rhodes are being torn apart by Adam Kesher (Justin Theroux), a film director
who we see has become romantically involved with Rhodes. Diane Selwyn
becomes increasingly jealous, which sends her on a downward spiral into
madness and suicide. Before this, however, she puts a hit on Camilla, which
leads to the foiled murder attempt that begins the film.

Camilla doesn't know about Selwyn's suicide when the car accident occurs.
Not remembering anything, even her name, she stumbles into a Hollywood
apartment, which is inhabited by Betty (Naomi Watts, who also plays Diane
Selwyn), an aspiring actress who, in a brilliant audition scene, proves that
she really can act. This is at the beginning of Mulholland Drive, the
"Fantasy" section. Not remembering her name, Camilla adopts "Rita," from a
Gilda poster featuring Rita Hayworth. Betty bears the likeness of Diane
Selwyn because Camilla is trying to remember Selwyn, and Betty is a
subconscious reminder of her. Triggered by this vague recognition and by a
waitress's name tag, Camilla ("Rita") finally remembers a name: Diane
Selwyn. She and Betty visit Selwyn's apartment and discover her body, dead
from the suicide that ends the film.

The second part of the Fantasy sequence is an unfolding dream revolving
around the director, Adam Kesher, who is forced by an odd, pinhead-lead,
Espresso-snob mob to cast none other than Camilla Rhodes as the lead actress
in his film. What is this? The manifestation of Camilla's subconscious
insecurity in her real-life relationship with Kesher? And even stranger,
Camilla is now played by Melissa George, who also makes an appearance in the
party scene of the "Waking Reality" section, kissing Camilla (as played by
Laura Harring). And when Kesher first sees Selwyn-lookalike Betty at the
audition, it is love at first sight, brilliantly punctuated by Connie
Francis's "Sixteen Reasons."

The rest of the "Fantasy" sequence is peppered with more of Camilla's
recollections in the form of truly fascinating dream sequences, which may
not have anything to do with the "narrative" of Mulholland Drive, but like
any good dream, we dwell on them and never want them to end. The highlight
of these scenes is set in Club Silencio, where we witness an odd
lip-synching ritual and an extraordinarily powerful Spanish acapella of Roy
Orbison's "Crying" by Rebekah del Rio. This is also where Lynch introduces
the blue box.

Camilla opening the blue box sends us spiraling forward into "Waking
Reality," in which everything seems to go haywire. David Lynch keeps us
off-course throughout the film by making it seem like it is told through the
eyes of Betty, Kesher, and Selwyn, when it is really half-inside the mind of
Camilla Rhodes the entire time. And if everything doesn't quite fit, it is
because Mulholland Drive never exists in a palpable reality. However,
through the film's own breed of logic, it all makes perfect sense.