Mulholland Drive (Sous-titres français) [Import]
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Theroux/Watts/Harring/Miller/Hedaya/Forster ~ Mulholland Drive
Le Sunset Boulevard du IIIe millénaire ? Impossible de ne pas évoquer le chef-d'œuvre de Billy Wilder pour rendre compte de cette œuvre dense et poétique, qui bouscule les conventions cinématographiques pour le plus grand plaisir de nos yeux, de nos sens et de notre intelligence. Comme tous les grands films de Lynch, Mulholland Drive déchire le voile des apparences : derrière l'intrigue rassurante de la succes story d'une starlette hollywoodienne, se cache un fascinant voyage au bout de la nuit, un enivrant cauchemar labyrinthique entre rêve et réalité ; où se télescopent une brune amnésique et une jeune blonde aux portes de la gloire. D'abord conçu comme un pilote de série télévisée, Mulholland Drive appelle la comparaison avec Twin Peaks, tandis que la figure de la dualité féminine évoque Lost Highway et Blue Velvet. Maîtrisé de bout en bout, le 9e film de l'auteur d'Eraserhead a tout pour devenir le premier chef-d'œuvre de ce millénaire : le regard ironique d'un cinéaste en pleine possession de ses moyens ; des comédiennes inconnues désormais élevées au rang d'icônes cinématographiques (Naomi Watts et Laura Elena Harring) ; une musique à la fois envoûtante, entêtante et voluptueuse, que l'on doit à Angelo Badalamenti ; le souvenir tenace et hypnotique que procure la vision renouvelée de ce tissu de rêves "étranges et pénétrants", entre plaisir et mystère, jouissance et horreur. Mulholland Drive a obtenu le prix de la mise en scène Cannes 2001. --Sylvain Lefort
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Top Customer Reviews
However, it has now been several months since I've had a chance to see the film, and I think its strengths and weaknesses have settled fairly well in my memory. This film is quite simply a triumph of expert filmmaking. I will admit that David Lynch's record was spotty up to this point. I found "Blue Velvet" captivating but thought "Eraserhead" was too deliberately misanthropic and offputting. But Lynch has finally found the right idiom and plot for his unique style of filmmaking.
The first strength you notice about this film is that it is positively dripping with atmosphere. Lynch's strong use of color drenches every frame in a wash of film-noir paranoia; it is obvious just from looking at the screen that something is not right here. Fabrics and wallpaper are just never THAT bright; foliage and jewelry leaps off the screen with its vividness. The film's second strength is incredible acting, particularly from Naomi Watts. Her failure to receive an Academy Award for this performance was the beginning of my current distrust for the Academy's choices. Watts is here required to play two different roles, one vastly different from the other. It is a feat she accomplishes flawlessly, shifting from one character to the other so completely that at first I didn't realize it was the same actress playing both roles. Laura Harring lends capable support, her face and acting style a throwback to a thirties melodrama. It is only appropriate that she chooses her character's name from a Rita Hayworth poster.Read more ›
Originally written and filmed as a TV pilot, the ending was only written after the show was rejected. Knowing the history of the genesis of the film only increased my appreciation for its craft, because the ending qualitatively transforms the entire first three quarters of the film. I cannot comprehend how Lynch was able to think of an ending that turned the whole first part of the film on its head, making it meaningful on a completely different, and more subtle layer.
For first time viewers, I can only say that it's important to pay attention to the whole film. Every shot. Colours, symbols, recurring objects and motifs, all play a part in revealing the film's secrets. I can't recommend this movie highly enough.
Starting from frame one (including the groovy 50's dancers), the viewer becomes submerged in Naomi Watts' dream (notice the pillow shown for a few seconds). The dream is based on her recent experiences with people she knows well or has merely glanced at briefly (Cowboy, Espresso-dude, Winkies diner guy) dwelling in her dream chambers with elaborate storylines. Her wish for stardom, girl-on-girl lust and shameful, murderous guilt fuel Watts' visions. Although she's not in many scenes, every scene is wholly part of her dream and moves towards one conclusion: Her object of desire is slain and she is responsible for the vile crime. The drop-dead beautiful Laura Elena Haring utters her final line "Donde estas?" before vanishing from Naomi's sub-conscious and existence all-together. After Diane Selwyn awakens, all action takes place mostly via flashback as we learn piece by piece how the elements of the dream formed. The only "real-time" shown is her final hour, in the apartment.
In a nutshell, she's love-sick and insane, went ahead and hired a hit-man to murder her ex-lover (Rita/Camila) and kills herself with the police banging on the door. The "little" old people are hallucinations perhaps representing her conscience like a Lynch-ian "Jiminy Cricket.Read more ›
The movie opens with heavy breathing, visions of a lovely young girl being awarded, many teen couples dancing, and a slow descent toward a pillow. Then we cut to a three-way car crash, followed by a pretty young woman (Laura Harring) wandering down the hill to an upscale apartment. But she soon encounters the owner's niece, pretty plucky Betty (Naomi Watts). When Betty learns that the mysterious young lady -- who is calling herself Rita -- has amnesia, she decides to help her find out what is going on.
Elsewhere, a promising young film director's life is falling to pieces, because of a pair of malevolent brothers who want a particular young lady to star in his film. And when Betty begins to explore the strange car accident that Rita walked away from, they find that there is a bizarre conspiracy brewing in L.A. Or is there? The path gets more and more twisted, as the boundaries of reality and dreams blur.... and it all centers on a mysterious name: Diane Selwyn.
This is a movie that doesn't make sense on the first viewing -- at first it just seems to be a straightforward suspense movie. But David Lynch completely turns that on its ear. Not everything makes sense in this film -- such as the monstrous man behind the restaurant -- but the pieces start to slowly click together as we find out who Diane Selwyn is.Read more ›
Most recent customer reviews
David Lynch forever leaves the viewer questioning, But this one, amidst it's twists and turns does add up somewhat in the end, at least for me anyways. Read morePublished 9 months ago by Johnny Rocker
Mulholland Dr. is a wild ride and it's best to experience it without knowing anything the first time you see it. The plot is non-linear and the ending isn't typical Hollywood fare. Read morePublished on Jan. 20 2014 by Steven Aldersley
This is one of my favourite movies. It seems to have an effect on me unlike any other film I've ever seen. It really defies description and needs to be seen to be appreciated.Published on Oct. 14 2013 by Richard Grimsditch
I didn't really understand this movie; only recommend it because of the sex scenes between two women and the masturbation scene near the end of the movie.Published on Aug. 7 2012 by L. F. Sweeney
Like Kevin Smith, the first time I saw this film I was stupefied. "What?!" Repeated viewings disabused me of the notion that there was nothing in this film to understand. Read morePublished on Nov. 23 2007 by Harrison Koehli
I've seen this movie a few times and it's been very enjoyable. Film critics who value the avant-garde and the experimental are often very fond of this one. Read morePublished on Jan. 5 2007 by Ndt
My husband and I loved this movie. Of course, the first time we watched it, we were both totally confused at the end. Read morePublished on Oct. 16 2006 by JBB
You just can't find this kind of movie in mainstream Hollywood. It's original, artistic and unpredictable all the way through. Read morePublished on Dec 27 2005 by siberia82
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