What was mulholland drive about

But, time flies and Rita's opaque past demands answers. After all, both women deserve the truth. What is the secret of the serpentine, dream-crushing Mulholland Drive? Beware what you dream for Rated R for violence, language and some strong sexuality. Did you know Edit. Trivia Rebekah Del Rio the singer at Club Silencio first met director David Lynch when a talent agent took her, on a whim, to a recording studio where Lynch happened to be and asked her to sing a song for him.

She performed an impromptu version of "Llorando" which, also on a whim and without her knowledge , was being taped by the audio engineer. Years later, Lynch decided to incorporate the song into this film. However, except for a few minor tweaks, this was the exact same recording used in the movie.

Goofs When Betty and Rita are rehearsing for Betty's audition, Rita can be seen reading from a script with lines for "Betty" and "Rita. Quotes Dan : I just wanted to come here. Herb : To Winkie's?

Herb : Go ahead. The background music becomes increasingly ominous] Dan : That's it. Crazy credits Credits have the movie director's name as 'Bob Booker' not 'Brooker' as we hear. Furthermore, many of the characters' names are simply not mentioned at all during the course of the film Billy Deznutz, Joe Messing, Bondar, etc. Alternate versions Some scenes were deleted to shorten the running time of the movie. Some of the missing scenes are: An additional scene of the detectives McKnight and Domgaard in the police station talking about the car crash the previous night on Mulholland Drive.

A full scene of dialog with the hit man Joe and the pimp Billy in Pinky's Hot Dog stand with Joe asking about information on the missing woman and about the hot dogs served while the drugged out streetwalker Laney looks on. An scene of the Castigliane limo arriving outside Adam Kesher's house where the goon, Kenny, gets out and talks briefly with Taka, the Japanese gardener in the driveway asking if he has seen Adam recently.

A scene of Betty arriving on the studio lot and meeting Martha Johnson outside the producer's office and Wally coming out the front door to meet her and take her inside. An extended scene showing the introduction of Mr. Roque of Vincent Darby entering a large office building and taking an elevator to one of the top floors and asking the receptionist if he could enter Mr. Roque's office. During the scene where Mr. Roque relays the message 'the girl is still missing' to various unseen associates, when the unseen man with the hairy arm on the yellow telephone rings his contact, the original scene was not of a telephone under a lamp with a red shade, but a white speaker phone on a bright blue table and a woman's hand Camila Rhodes?

The scene of Adam meeting with the executives is longer with him first arriving holding a iron golf club demanding why he has been called away from the golf course to this meeting and Ray giving him a vague explanation to the movie he's filming. 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.

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.

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. 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.

Wilkins agrees, and after hanging up, he yells at his dog crouched in a corner about relieving himself all over the place. Connections Edited into Hollywood Burn Records Inc. By Arrangement with Warner Special Products. User reviews 2K Review.

Top review. Mulholland Drive - Lynch's cinematic art - reality vs. Lynch loves to realistically portray logical sequences interspersed by fantasy diversions, which entrances but confuses the viewer. 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.

Mulholland Drive starts off logically but then gradually abandons logical coherence as dream-like but realistically presented sequences are brought into the plot. 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. 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.

I can imagine Lynch laughing in the background as he plays his joke on the viewer. The film Holy Motors presents pure fantasy in nonsensical and unrelated sequences, and is bad art.

Mulholland Drive has enough organization and structure, with more skillfully accomplished fantasy, to qualify it as good art. Naomi Watts gives us an outstanding performance - better than the typical "Best Actress" Oscar award winner's performance in the last 20 years.

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.

The plot is secondary for Lynch since cinematic art is his focus. The accident, the injured Diane Selwyn emerging from the car and leaving the scene of the accident. Actually, the car accident sequence is more important than we are giving it credit for.

The accident signifies many things; Camilla Laura Harring picks Betty up at the same location and then takes her to the party, subsequently revealing the fact that Camilla and Adam are about to announce their engagement.

Logically, this becomes evident in the restaurant scene when Diane hires a hitman to kill Camilla. It is here that Diane conceives the name Betty that she uses for herself in her dream. This explanation gives a lot of food for thought about the nature of identity and stardom; Diane wants to be the perfect star. She wants to be the newbie, who rises through the ranks and eventually becomes a Hollywood superstar.

But what the hell was the theater or the Club Silencio all about? Viewers would argue about the seemingly unnecessary storylines of the Director Adam Kesher Justin Theroux , his twisted encounter with a lunatic cowboy, and the hitman going on a killing spree.

But, once again, David Lynch surprises. Commercialization vs Artistic freedom. Betty wanted to be that star — directed by the creative powerhouse Adam Kesher. In her fantasy, she sees Adam struggling and fighting with his superiors to retain her. She sees what she always wanted to see — someone fighting for her. Someone realizing her talent. Still untarnished by the false promises of the rapacious film industry, the wide-eyed actress, Betty, sets foot on bustling, sun-kissed Hollywood.

Brimming with hope, and eager to spread her wings and prove her worth, Betty moves in Aunt Ruth's expensive apartment, unbeknownst to her, however, that fate has other plans in store for her, setting the stage for life-altering experiences with the unexpected, the indecipherable, and the unknown. Now, in the centre of an elaborate labyrinth of half-truths, faded memories, unrequited loves, and dangerous encounters with the city's ugly face lies a strange key to a mysterious keyhole, an even stranger indigo-blue cube, the young director, Adam, and one cryptic woman: the amnesiac brunette and devilishly seductive car-crash survivor, Rita.

But, time flies and Rita's opaque past demands answers. After all, both women deserve the truth. What is the secret of the serpentine, dream-crushing Mulholland Drive?

Successful Hollywood movie director Adam Kesher is facing problems in both his personal and professional life. His wife is openly cheating on him, she kicking him out of their house in the Hollywood hills. For his latest film, he is being threatened to cast the female lead with the actress of "their" choice, that actress who he will only know at the time she auditions, he facing unknown but severe consequences by the unknown forces backing her if he doesn't comply.

Meanwhile, wide-eyed Betty Elms has just arrived in Hollywood from her home in Canada to begin an acting career, she staying at her Aunt Ruth's apartment while Aunt Ruth, who also works in the business, is away on a film shoot.

Initially believing she a friend of Aunt Ruth's, Betty discovers a young woman in the apartment, she, calling herself Rita, suffering from amnesia and just taking refuge in the empty apartment in seeing Aunt Ruth leave. They come to the belief that Rita has suffered a concussion most likely from a vehicle accident that took place along nearby Mulholland Drive.