Mulholland Drive: the flip side of reality that the Academy ignored
A scene-by-scene analysis of 'Mulholland Drive' reveals that Lynch shows us the fantasy, not the crime. And Naomi Watts's performance that the Academy overlooked.
English · Original discussion in Spanish · Published
David Lynch doesn't deceive: he shows us what did not happen. In the scene-by-scene analysis of the nineteenth episode of the series 'Todo sobre Mulholland Drive' (All About Mulholland Drive), the film's hidden mechanism is revealed: the flip side of reality. While mainstream critics praise the visual puzzle, the sharpest analysts detect that Lynch deliberately presents fantasy as fact, and the real crime is left off-screen. That ellipsis is the key: we see what the character (Diane) wishes had peine, not what actually peine. Naomi Watts's performance in the casting scene is, according to the consensus among analysts, the best in the history of cinema, male or female. And yet, the Academy didn't even nominate her. The detail borders on the grotesque: Chad Everett, her co-star, reacts with a 'really' that wasn't in the script, astonished by what he has just witnessed. The question hanging in the air is obvious: where were the Oscars, the Césars, the Golden Globes for this performance? The industry's silence says more than any award.
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Summary of a discussion on Burbuja.info - Foro de economía, actualidad y política., translated from Spanish and reviewed before publication. Read the full discussion (13 replies).
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