![]() What I've been doing is demonstrating the way "Mulholland Dr." affects a lot of viewers. When they find the decomposing corpse in #17, however, that's a little more detailed than Nancy Drew's typical discoveries. Lynch has shifted gears from a film noir to a much more innocent kind of crime story, a Nancy Drew mystery. ![]() Indeed, before long they're helping each other sneak into apartment #17. Betty now responds with almost startling generosity, deciding to help "Rita" discover her identity, and in a smooth segue the two women bond. The woman sees a poster of Rita Hayworth in "Gilda" on the wall and replies, "Rita." She claims to have amnesia. Betty discovers the woman from Mulholland taking a shower in her aunt's apartment and demands to know who she is. Conventional movie cops turn up, investigate, and disappear for the rest of the film. Dreams need not make sense, I am not Freud, and at this point in the film it's working perfectly well as a film noir. I won't further try your patience with more of this mix-and-match. But people don't dress like jitterbuggers and drag race on Mulholland at the time of the film (the 1990s), not in now-priceless antique hot rods, and the crash seems to have elements imported from an audition, perhaps, that will later be made much of. The very first moments of the film seemed like a bizarre montage from a jitterbug contest on a1950s TV show, and the hotrods and their passengers visually link with that. Still hiding in shrubbery, she sees a woman leaving an apartment to get into a taxi, and she sneaks into the apartment and hides under a table. The stunned woman (Laura Elena Herring) staggers into some shrubbery and starts to climb down the hill - first crossing Franklin Dr., finally arriving at Sunset. ![]() The limo pulls over, the driver pulls a gun and orders his passenger out of the car, and just then two drag-racing hot rods hurtle into view and one of them strikes the limo, killing the driver and his partner. The movie seems seductively realistic in several opening scenes however, as an ominous film noir sequence shows a beautiful woman in the back seat of a limousine on Mulholland Drive - that serpentine road that coils along the spine of the hills separating the city from the San Fernando Valley. Dreams cobble their contents from the materials at hand, and although the old folks turn up again at the end of the film their actual existence may be problematic. It's as likely she only dreams of getting off a flight from Ontario to Los Angeles, being wished good luck by the cackling old couple who met her on the plane, and arriving by taxi at the apartment. It continues with the story of how Betty came to Hollywood and how she ended up staying in the apartment of her aunt, but if we are within a dream there is no reason to believe that on a literal level. It seems to be the dream of Betty ( Naomi Watts), seen in the first shots sprawled on a bed. ![]()
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