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Rita überlebt einen schrecklichen Autounfall auf dem Mulholland Drive. Sie ist unverletzt, hat aber ihr Gedächtnis verloren. In Betty, die in L.A. ein Star werden will, findet die verstörte junge Frau eine Freundin. Betty ist interessiert an der. Mulholland Drive – Straße der Finsternis (Originaltitel: Mulholland Drive, auch: Mulholland Dr.) ist ein Thriller mit Drama- und Mystery-Elementen von David. Mulholland Drive. ()IMDb h 26min Bei einem Autounfall auf den Hügeln über Hollywood verliert eine schwarzhaarige Schönheit ihr Gedächtnis. Nachdem uns David Lynch zuletzt eine sehr direkte Geschichte geradeheraus erzählt hat, kehrt er nun mit Mulholland Drive wieder in das so rätselhafte und. "Mulholland Drive" von David Lynch - Ein Film, eine MinuteAusstrahlung am Juli. Kein Video verfügbar. Fermer l'aperçu vidéo.
In Mulholland Drive erzählt David Lynch eine mysteriöse Liebesgeschichte zwischen Naomi Watts und Laura Harring. Komplette Handlung und Informationen zu. Nachdem uns David Lynch zuletzt eine sehr direkte Geschichte geradeheraus erzählt hat, kehrt er nun mit Mulholland Drive wieder in das so rätselhafte und. Mulholland Drive: Die Entschlüsselung. David Lynch und seine "Straße der Finsternis" verstehen - Christian Hardinghaus - Arbeiten publizieren: Bachelorarbeit.
Rita unlocks the box, and it falls to the floor with a thump. Diane Selwyn wakes up in her bed in the same apartment that Betty and Rita investigated.
She looks exactly like Betty, but is a failed actress driven into a deep depression by her failed affair with Camilla Rhodes, a successful actress who looks exactly like Rita.
Another woman who looks like the "Camilla Rhodes" from earlier kisses Camilla, and they turn and smile at Diane. Adam and Camilla prepare to make an important announcement, but they dissolve into laughter and kiss while Diane watches, crying.
Later, Diane meets the hit man at Winkie's, appearing to hire him to kill Camilla. He tells her she will find a blue key when the job is completed.
In her apartment, Diane looks at the blue key on her coffee table. Distraught, she is terrorized by hallucinations and runs screaming to her bed, where she shoots herself.
A woman at the theater whispers, "Silencio. Originally conceived as a television series, Mulholland Drive began as a minute pilot produced for Touchstone Television and intended for the ABC television network.
Tony Krantz, the agent who was responsible for the development of Twin Peaks, was "fired up" about doing another television show.
Ironically, Lynch wrote "I will never do television again" on a piece of plywood. It was originally a script for a pilot for ABC.
An ABC executive recalled, "I remember the creepiness of this woman in this horrible, horrible crash, and David teasing us with the notion that people are chasing her.
She's not just 'in' trouble—she is trouble. Obviously, we asked, 'What happens next? The person who saw it, according to Lynch, was watching it at six in the morning and was having coffee and standing up.
He hated the pilot and ABC immediately cancelled it. Pierre Edleman, Lynch's friend from Paris, came to visit and started talking to him about the film being a feature.
Edleman went back to Paris. Lynch described the attractiveness of the idea of a pilot, despite the knowledge that the medium of television would be constricting: "I'm a sucker for a continuing story Theoretically, you can get a very deep story and you can go so deep and open the world so beautifully, but it takes time to do that.
Groundwork was laid for story arcs , such as the mystery of Rita's identity, Betty's career and Adam Kesher's film project. Actress Sherilyn Fenn stated in a interview that the original idea came during the filming of Twin Peaks , as a spin-off film for her character of Audrey Horne.
Lynch cast Naomi Watts and Laura Harring by their photographs. He called them in separately for half-hour interviews and told them that he had not seen any of their previous works in film or television.
Lynch asked her to return the next day "more glammed up". She was offered the part two weeks later. Lynch explained his selection of Watts, "I saw someone that I felt had a tremendous talent, and I saw someone who had a beautiful soul, an intelligence—possibilities for a lot of different roles, so it was a beautiful full package.
After a long flight with little sleep, Theroux arrived dressed all in black, with untidy hair. Lynch liked the look and decided to cast Adam wearing similar clothes and the same hairstyle.
Filming for the television pilot began on location in Los Angeles in February and took six weeks. Ultimately, the network was unhappy with the pilot and decided not to place it on its schedule.
I agreed with ABC that the longer cut was too slow, but I was forced to butcher it because we had a deadline, and there wasn't time to finesse anything.
It lost texture, big scenes and storylines, and there are tape copies of the bad version circulating around.
Lots of people have seen it, which is embarrassing, because they're bad-quality tapes, too. I don't want to think about it.
The script was later rewritten and expanded when Lynch decided to transform it into a feature film. Describing the transition from an open-ended pilot to a feature film with a resolution of sorts, Lynch said, "One night, I sat down, the ideas came in, and it was a most beautiful experience.
Everything was seen from a different angle Now, looking back, I see that [the film] always wanted to be this way.
It just took this strange beginning to cause it to be what it is. Watts was relieved that the pilot was dropped by ABC.
She found Betty too one-dimensional without the darker portion of the film that was put together afterward. Theroux described approaching filming without entirely understanding the plot: "You get the whole script, but he might as well withhold the scenes you're not in, because the whole turns out to be more mystifying than the parts.
David welcomes questions, but he won't answer any of them You work kind of half-blindfolded. If he were a first-time director and hadn't demonstrated any command of this method, I'd probably have reservations.
But it obviously works for him. Watts stated that she tried to bluff Lynch by pretending she had the plot figured out, and that he delighted in the cast's frustration.
Giving the film only the tagline "A love story in the city of dreams",  David Lynch has refused to comment on Mulholland Drive ' s meaning or symbolism , leading to much discussion and multiple interpretations.
The Christian Science Monitor film critic David Sterritt spoke with Lynch after the film screened at Cannes and wrote that the director "insisted that Mulholland Drive does tell a coherent, comprehensible story", unlike some of Lynch's earlier films like Lost Highway.
He loves it when people come up with really bizarre interpretations. David works from his subconscious. An early interpretation of the film uses dream analysis to argue that the first part is a dream of the real Diane Selwyn, who has cast her dream-self as the innocent and hopeful "Betty Elms", reconstructing her history and persona into something like an old Hollywood film.
In the dream, Betty is successful, charming, and lives the fantasy life of a soon-to-be-famous actress.
The last one-fifth of the film presents Diane's real life, in which she has failed both personally and professionally.
She arranges for Camilla, an ex-lover, to be killed, and unable to cope with the guilt, re-imagines her as the dependent, pliable amnesiac Rita.
Clues to her inevitable demise, however, continue to appear throughout her dream. This interpretation was similar to what Naomi Watts construed, when she said in an interview, "I thought Diane was the real character and that Betty was the person she wanted to be and had dreamed up.
Rita is the damsel in distress and she's in absolute need of Betty, and Betty controls her as if she were a doll.
Rita is Betty's fantasy of who she wants Camilla to be. She endured some professional frustration before she became successful, auditioned for parts in which she did not believe, and encountered people who did not follow through with opportunities.
She recalled, "There were a lot of promises, but nothing actually came off. I ran out of money and became quite lonely.
The Guardian asked six well-known film critics for their own perceptions of the overall meaning in Mulholland Drive. Roger Ebert and Jonathan Ross seem to accept this interpretation, but both hesitate to overanalyze the film.
Ebert states, "There is no explanation. There may not even be a mystery. Media theorist Siobhan Lyons similarly disagrees with the dream theory, arguing that it is a "superficial interpretation [which] undermines the strength of the absurdity of reality that often takes place in Lynch's universe".
In a similar interpretation, Betty and Rita and Diane and Camilla may exist in parallel universes that sometimes interconnect.
Another theory offered is that the narrative is a Möbius strip , a twisted band that has no beginning and no end.
Rita falls asleep several times; in between these episodes, disconnected scenes such as the men having a conversation at Winkie's, Betty's arrival in Los Angeles and the bungled hit take place, suggesting that Rita may be dreaming them.
The opening shot of the film zooms into a bed containing an unknown sleeper, instilling, according to film scholar Ruth Perlmutter, the necessity to ask if what follows is reality.
Bulkeley asserts that the lone discussion of dreams in that scene presents an opening to "a new way of understanding everything that happens in the movie".
Philosopher and film theorist Robert Sinnerbrink similarly notes that the images following Diane's apparent suicide undermine the "dream and reality" interpretation.
After Diane shoots herself, the bed is consumed with smoke, and Betty and Rita are shown beaming at each other, after which a woman in the Club Silencio balcony whispers " Silencio " as the screen fades to black.
Sinnerbrink writes that the "concluding images float in an indeterminate zone between fantasy and reality, which is perhaps the genuinely metaphysical dimension of the cinematic image", also noting that it might be that the "last sequence comprises the fantasy images of Diane's dying consciousness, concluding with the real moment of her death: the final Silencio ".
Film theorist David Roche writes that Lynch films do not simply tell detective stories, but rather force the audience into the role of becoming detectives themselves to make sense of the narratives, and that Mulholland Drive , like other Lynch films, frustrates "the spectator's need for a rational diegesis by playing on the spectator's mistake that narration is synonymous with diegesis".
In Lynch's films, the spectator is always "one step behind narration" and thus "narration prevails over diegesis". Although the audience still struggles to make sense of the stories, the characters are no longer trying to solve their mysteries.
Roche concludes that Mulholland Drive is a mystery film not because it allows the audience to view the solution to a question, but the film itself is a mystery that is held together "by the spectator-detective's desire to make sense" of it.
Despite the proliferation of theories, critics note that no explanation satisfies all of the loose ends and questions that arise from the film.
Stephen Holden of The New York Times writes, " Mulholland Drive has little to do with any single character's love life or professional ambition.
The movie is an ever-deepening reflection on the allure of Hollywood and on the multiple role-playing and self-invention that the movie-going experience promises What greater power is there than the power to enter and to program the dream life of the culture?
Hoberman from The Village Voice echoes this sentiment by calling it a "poisonous valentine to Hollywood".
Mulholland Drive has been compared with Billy Wilder 's film noir classic Sunset Boulevard , another tale about broken dreams in Hollywood,    and early in the film Rita is shown crossing Sunset Boulevard at night.
Apart from both titles being named after iconic Los Angeles streets, Mulholland Drive is "Lynch's unique account of what held Wilder's attention too: human putrefaction a term Lynch used several times during his press conference at the New York Film Festival in a city of lethal illusions".
David Lynch lives near Mulholland Drive, and stated in an interview, "At night, you ride on the top of the world.
In the daytime you ride on top of the world, too, but it's mysterious, and there's a hair of fear because it goes into remote areas.
You feel the history of Hollywood in that road. He also portrays Betty as extraordinarily talented and that her abilities are noticed by powerful people in the entertainment industry.
Harring described her interpretation after seeing the film: "When I saw it the first time, I thought it was the story of Hollywood dreams, illusion and obsession.
It touches on the idea that nothing is quite as it seems, especially the idea of being a Hollywood movie star. The second and third times I saw it, I thought it dealt with identity.
Do we know who we are? And then I kept seeing different things in it There's no right or wrong to what someone takes away from it or what they think the film is really about.
It's a movie that makes you continuously ponder, makes you ask questions. I've heard over and over, 'This is a movie that I'll see again' or 'This is a movie you've got to see again.
You want to get it, but I don't think it's a movie to be gotten. It's achieved its goal if it makes you ask questions. The relationships between Betty and Rita, and Diane and Camilla have been variously described as "touching", "moving", as well as "titillating".
It is a beautiful moment, made all the more miraculous by its earned tenderness, and its distances from anything lurid. Writer Charles Taylor said, "Betty and Rita are often framed against darkness so soft and velvety it's like a hovering nimbus , ready to swallow them if they awake from the film's dream.
And when they are swallowed, when smoke fills the frame as if the sulfur of hell itself were obscuring our vision, we feel as if not just a romance has been broken, but the beauty of the world has been cursed.
Some film theorists have argued that Lynch inserts queerness in the aesthetic and thematic content of the film. Rita and Betty then gaze at each other in the mirror "drawing attention to their physical similarity, linking the sequence to theme of embrace, physical coupling and the idea of merging or doubling".
Love's analysis of the film notes the media's peculiar response to the film's lesbian content: "reviewers rhapsodized in particular and at length about the film's sex scenes, as if there were a contest to see who could enjoy this representation of female same-sex desire the most.
Popular reaction to the film suggests the contrasting relationships between Betty and Rita and Diane and Camilla are "understood as both the hottest thing on earth and, at the same time, as something fundamentally sad and not at all erotic" as "the heterosexual order asserts itself with crushing effects for the abandoned woman".
Heterosexuality as primary is important in the latter half of the film, as the ultimate demise of Diane and Camilla's relationship springs from the matrimony of the heterosexual couple.
At Adam's party, they begin to announce that Camilla and Adam are getting married; through laughs and kisses, the declaration is delayed because it is obvious and expected.
The heterosexual closure of the scene is interrupted by a scene change. As Lee Wallace suggests, by planning a hit against Camilla, "Diane circumvents the heterosexual closure of the industry story but only by going over to its storyworld, an act that proves fatal for both women, the cause and effect relations of the thriller being fundamentally incompatible with the plot of lesbianism as the film presents it".
In her fantasy, Adam has his own subplot which leads to his humiliation. While this subplot can be understood as a revenge fantasy born from jealousy, Cole argues that this is an example of Diane's transgender gaze: "Adam functions like a mirror- a male object upon which Diane might project herself".
Media portrayals of Naomi Watts' and Laura Elena Harring's views of their onscreen relationships were varied and conflicting.
Watts said of the filming of the scene, "I don't see it as erotic, though maybe it plays that way. The last time I saw it, I actually had tears in my eyes because I knew where the story was going.
It broke my heart a little bit. These girls look really in love and it was curiously erotic. Rita's very grateful for the help Betty's given [her] so I'm saying goodbye and goodnight to her, thank you, from the bottom of my heart, I kiss her and then there's just an energy that takes us [over].
Of course I have amnesia so I don't know if I've done it before, but I don't think we're really lesbians. But it is Betty's identity, or loss of it, that appears to be the focus of the film.
For one critic, Betty performed the role of the film's consciousness and unconscious. I had to therefore come up with my own decisions about what this meant and what this character was going through, what was dream and what was reality.
My interpretation could end up being completely different, from both David and the audience. But I did have to reconcile all of that, and people seem to think it works.
Betty, however difficult to believe as her character is established, shows an astonishing depth of dimension in her audition.
The sexuality erodes immediately as the scene ends and she stands before them shyly waiting for their approval.
One film analyst asserts that Betty's previously unknown ability steals the show, specifically, taking the dark mystery away from Rita and assigning it to herself, and by Lynch's use of this scene illustrates his use of deception in his characters.
Rita Laura Elena Harring is the mysterious and helpless apparent victim, a classic femme fatale with her dark, strikingly beautiful appearance.
She is also the first character with whom the audience identifies, and as viewers know her only as confused and frightened, not knowing who she is and where she is going, she represents their desire to make sense of the film through her identity.
Her amnesia makes her a blank persona, which one reviewer notes is "the vacancy that comes with extraordinary beauty and the onlooker's willingness to project any combination of angelic and devilish onto her".
After Betty and Rita find the decomposing body, they flee the apartment and their images are split apart and reintegrated.
David Roche notes that Rita's lack of identity causes a breakdown that "occurs not only at the level of the character but also at the level of the image; the shot is subjected to special effects that fragment their image and their voices are drowned out in reverb, the camera seemingly writing out the mental state of the characters".
It is this transformation that one film analyst suggests is the melding of both identities. This is supported by visual clues, like particular camera angles making their faces appear to be merging into one.
This is further illustrated soon after by their sexual intimacy, followed by Rita's personality becoming more dominant as she insists they go to Club Silencio at 2 a.
Diane Selwyn Naomi Watts is the palpably frustrated and depressed woman, who seems to have ridden the coattails of Camilla, whom she idolizes and adores, but who does not return her affection.
She is considered to be the reality of the too-good-to-be-true Betty, or a later version of Betty after living too long in Hollywood.
She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry". Rita's fear, the dead body and the illusion at Club Silencio indicate that something is dark and wrong in Betty and Rita's world.
In becoming free from Camilla, her moral conditioning kills her. Camilla Rhodes Melissa George, Laura Elena Harring is little more than a face in a photo and a name that has inspired many representatives of some vaguely threatening power to place her in a film against the wishes of Adam.
Referred to as a "vapid moll" by one reviewer,  she barely makes an impression in the first portion of the film, but after the blue box is opened and she is portrayed by Laura Elena Harring, she becomes a full person who symbolizes "betrayal, humiliation and abandonment",  and is the object of Diane's frustration.
Diane is a sharp contrast to Camilla, who is more voluptuous than ever, and who appears to have "sucked the life out of Diane".
On a film set where Adam is directing Camilla, he orders the set cleared, except for Diane—at Camilla's request—where Adam shows another actor just how to kiss Camilla correctly.
Instead of punishing Camilla for such public humiliation, as is suggested by Diane's conversation with the bungling hit man, one critic views Rita as the vulnerable representation of Diane's desire for Camilla.
Adam Kesher Justin Theroux is established in the first portion of the film as a "vaguely arrogant",  but apparently successful, director who endures one humiliation after another.
Theroux said of his role, "He's sort of the one character in the film who doesn't know what the [hell's] going on.
I think he's the one guy the audience says, 'I'm kind of like you right now. I don't know why you're being subjected to all this pain. After he checks into a seedy motel and pays with cash, the manager arrives to tell him that his credit is no good.
Witnessed by Diane, Adam is pompous and self-important. He is the only character whose personality does not seem to change completely from the first part of the film to the second.
Roque Michael J. Anderson , all of whom are somehow involved in pressuring Adam to cast Camilla Rhodes in his film.
These characters represent the death of creativity for film scholars,   and they portray a "vision of the industry as a closed hierarchical system in which the ultimate source of power remains hidden behind a series of representatives".
Coco, in the first part of the film, represents the old guard in Hollywood, who welcomes and protects Betty.
In the second part of the film, however, she appears as Adam's mother, who impatiently chastises Diane for being late to the party and barely pays attention to Diane's embarrassed tale of how she got into acting.
The filmmaking style of David Lynch has been written about extensively using descriptions like "ultraweird",  "dark"  and "oddball".
By using these characters in scenarios that have components and references to dreams, fantasies and nightmares, viewers are left to decide, between the extremes, what is reality.
One film analyst, Jennifer Hudson, writes of him, "Like most surrealists, Lynch's language of the unexplained is the fluid language of dreams.
David Lynch uses various methods of deception in Mulholland Drive. A shadowy figure named Mr. Roque, who seems to control film studios, is portrayed by dwarf actor Michael J.
Anderson also from Twin Peaks. Anderson, who has only two lines and is seated in an enormous wooden wheelchair, was fitted with oversized foam prosthetic arms and legs in order to portray his head as abnormally small.
Both then turn and smile pointedly at Diane. Film critic Franklin Ridgway writes that the depiction of such a deliberate "cruel and manipulative " act makes it unclear if Camilla is as capricious as she seems, or if Diane's paranoia is allowing the audience only to see what she senses.
In actuality, it is a sound stage where Betty has just arrived to meet Adam Kesher, that the audience realizes as the camera pulls back further.
Ridgway insists that such deception through artful camera work sets the viewer full of doubt about what is being presented: "It is as if the camera, in its graceful fluidity of motion, reassures us that it thinks it sees everything, has everything under control, even if we and Betty do not.
According to Stephen Dillon, Lynch's use of different camera positions throughout the film, such as hand-held points of view, makes the viewer "identify with the suspense of the character in his or her particular space", but that Lynch at moments also "disconnects the camera from any particular point of view, thereby ungrounding a single or even a human perspective" so that the multiple perspectives keep contexts from merging, significantly troubling "our sense of the individual and the human".
The first portion of the film that establishes the characters of Betty, Rita and Adam presents some of the most logical filmmaking of Lynch's career.
Diane's scenes feature choppier editing and dirtier lighting that symbolize her physical and spiritual impoverishment,  which contrasts with the first portion of the film where "even the plainest decor seems to sparkle", Betty and Rita glow with light and transitions between scenes are smooth.
In the darker part of the film, sound transitions to the next scene without a visual reference where it is taking place. At Camilla's party, when Diane is most humiliated, the sound of crashing dishes is heard that carries immediately to the scene where dishes have been dropped in the diner, and Diane is speaking with the hit man.
Sinnerbrink also notes that several scenes in the film, such as the one featuring Diane's hallucination of Camilla after Diane wakes up, the image of the being from behind Winkie's after Diane's suicide, or the "repetition, reversal and displacement of elements that were differently configured" in the early portion of the film, creates the uncanny effect where viewers are presented with familiar characters or situations in altered times or locations.
Another recurring element in Lynch's films is his experimentation with sound. He stated in an interview, "you look at the image and the scene silent, it's doing the job it's supposed to do, but the work isn't done.
When you start working on the sound, keep working until it feels correct. There's so many wrong sounds and instantly you know it.
Sometimes it's really magical. After Lynch added "a hint of the steam [from the wreck] and the screaming kids", however, it transformed Laura Elena Harring from clumsy to terrified.
Interview, Making-Of oder Ausschnitt. Top 5 - Die verwirrendsten Filme. Das könnte dich auch interessieren.
Schauspielerinnen und Schauspieler. Naomi Watts. Laura Harring. Justin Theroux. Ann Miller. Anonymer User. Es fällt mir sehr schwer den Film zubewerten Nach reichlicher Überlegung, habe ich mich denoch entschieden den Film die volle Punktzahl zugeben.
Nun David Lynch schafft es tatsächlich einen von der ersten Szene an, den Zuschauer so in den Bann zuziehen, dass man gar keine andere Wahl hat als bis zum Schluss sitzen zubleiben.
Für mich ist die Anfangsszene das Mehr erfahren. Make it shine. So gut wie alles ist sehr gut gelungen, angefangen bei den sehr guten Schauspielern über die einprägsame Musikuntermalung bis hin zur Symbolik und dem beliebten Aha-Effekt.
So müssen intelligente Filme aussehen. Unbedingt ansehen. Kritiker und Filmschaffende stimmten ab: Das sind die besten Filme der er.
Es gab mal wieder eine Umfrage, deren Ergebnis sich bestens als Wegweiser nutzen lässt, um die eigene Watchlist mit ein paar Ähnliche Filme.
Lost Highway. Southland Tales. Vergiss mein nicht. Alle anzeigen. Mulholland Drive - Trailer. Mullholland Drive - Trailer Englisch.
Mulholland Drive - Trailer Deutsch. Videos anzeigen Bilder anzeigen. Das sagen die Nutzer zu Mulholland Drive.
Nutzer haben sich diesen Film vorgemerkt. Nutzer haben kommentiert. Kommentare zu Mulholland Drive werden geladen Kommentar speichern.
Filme wie Mulholland Drive. Lost Highway. Donnie Darko. Blue Velvet. Vertigo - Aus dem Reich der Toten. Eyes Wide Shut.
Inland Empire. Twin Peaks: Der Film. Eine verhängnisvolle Affäre.Irgendwann mal? Sie read more sie im entscheidenden Moment völlig anders und hat more info grandiosen Erfolg. Visit web page einer Filmprobe, in der Camilla die Hauptrolle und Diane eine durch sie vermittelte Nebenrolle spielt, versucht Camilla continue reading zum letzten Mal klarzumachen, dass sie an einer Liaison mit ihr nicht mehr interessiert ist. Please click for source Interpretationsmöglichkeiten Vorwegnehmen muss ich allerdings, dass es viele Hunderte, wenn nicht Tausende von Interpretationsmöglichkeiten für diesen Film gibt. Nur das Publikum tappt im Dunkeln. Mark Pellegrino. Obwohl noch viele weitere Auszeichnungen folgen sollten, blieb dem Film der kommerzielle Erfolg verwehrt.
Mulholland Drive - PDF, ePUB und MOBIChlotrudis Awards Alle anzeigen. Die Folge: Er springt noch mal ein paar Kapitel auf seiner Disc zurück oder schaut sich gleich den ganzen Film noch einmal an — was bei dieser Art von Filmen durchaus gewollt und empfehlenswert ist. Denn er muss Ihnen genau in diesem Moment präsent sein. Action Drama Filme Krimi Thriller. David Lynch ist ein learn more here Multitalent. Stattdessen sei es ein Film, dem man sich hingeben müsse. Abbildung in dieser Leseprobe nicht enthalten Das Leben der Diane Selwyn Um das tatsächliche Leben der Diane Selwyn rekonstruieren zu können, müssen wir versuchen, die vielen Informationen zueinander in Relation zu setzen, die uns der Film auf den verschiedenen Erzählebenen präsentiert. Doch gewisse Einschüchterungsversuche bewegen ihn letztlich dazu über seinen Schatten zu check this out. Auf der Bühne sehen Here und Betty, Lina Strahl die Sängerin zu kollabieren scheint, ihre Stimme ist aber immer noch click here hören. Scott Coffey. Der Clou eines jeden Mr Robot Kinox ist, dass der Regisseur uns einen fiesen Streich spielen und auf etwas völlig Ungeahntes bringen möchte. Robert Forster. Ihr fragt euch, was es mit dem Ende von Alex Garlands "Auslöschung" auf sich hat?
Diesen haben sie zuvor zusammen mit dem Geld im Schlafzimmer von Bettys Tante versteckt. Das Ende des ersten Teils.
Als Rita in der Wohnung nach dem Schlüssel sucht, ist ihre Freundin Betty auf einmal spurlos verschwunden. Sie lässt die Schachtel auf den Boden fallen.
Als sie nachschaut, ist niemand mehr da. Teil Zwei: Vertauschte Identitäten und alte Bekannte. Teil zwei des Films beginnt an dem Ort, an dem der erste Teil endete: Man blickt auf eine liegende Frau im Bett, die auf ein Klopfen hin aufsteht.
Die Nachbarin, mit der sie zuvor die Wohnung getauscht hat, teilt ihr mit, dass die Polizei erneut nach ihr gefragt hat. Als sie wieder alleine ist, fragt Diane halluzinierend "Camilla, du bist wieder da?
In einer Rückblende erfährt man, dass Diane darunter leidet, dass ihre Freundin Camilla sich mehr und mehr ihrer Liebe entzieht.
An dem Abend machen Camilla und Adam auch noch eine Ankündigung, bei der sie in Gelächter ausbrechen und sich dann küssen, während Diane ihnen zuschaut und weint.
Dianes finsterer Plan. Er ist ein Auftragskiller, den man schon in zwei Szenen des ersten Teils sehen konnte. Er übergibt Diane einen blauen Sicherheitsschlüssel und versichert, ihn an der vereinbarten Stelle zu verstecken, wenn der Job erledigt ist.
In der Bar trifft man als Zuschauer auch noch auf weitere bekannte Gestalten: Diane wird von einer Kellnerin mit dem Namen Betty bedient und sie sieht einen Mann aus dem ersten Teil, der von seiner Vision im Hinterhof des Winkie's erzählte.
Das Ende von Mulholland Drive. Zurück in ihrer Wohnung findet Diane den blauen Schlüssel vor. Sie wird erneut von Halluzinationen geplagt, bei denen sie von dem älteren Paar verfolgt wird, dass sich am Beginn des ersten Teils nach dem Flug nach LA freundlich von Betty Elms verabschiedet.
Ihr fragt euch, was es mit dem Ende von Alex Garlands "Auslöschung" auf sich hat? Das haben wir in diesem Artikel zusammengefasst.
David Lynch und sein Stil - Mulholland Drive erklärt. Mehr Infos. Filmhandlung und Hintergrund Düsterer Filmalbtraum über zwei gegensätzliche Frauen, die auf der Schattenseite der Traumfabrik einem Mysterium auf der Spur sind.
Bilderstrecke starten 14 Bilder. Wie bewertest du den Film? Man darf dennoch erwarten, dass das Publikum Lynchs Rätselkino zu schätzen gelernt hat und ihm bereitwillig auf diese kurvenreiche Fahrt durch ein Hollywood der Seltsamkeiten folgt.
So muss man sich also selbst seinen Reim auf die Sache machen, und vielleicht ist es nicht das Schlechteste, wenn ein Film einmal statt behaglicher Zufriedenheit Irritation und Neugierde auslöst.
Benommen sucht sie Unterschlupf in einem verlassenen Apartment, das anderntags von der jungen Schauspielerin Betty bezogen wird, die in Hollywood Karriere zu machen hofft.
Weil sie beim Unfall ihr Gedächtnis verloren hat, nennt sie sich Rita, und Betty ist schnell bereit, gemeinsam mit ihr das Rätsel ihrer Identität zu lösen.
Lynch stellt diese beiden Frauen wie zwei Seiten der gleichen Münze dar: Rita als brütende, dunkle Schöne in schwarz und rot, Betty als sonnige All-American-Beauty in blond und pastell.
Bei der Vorbereitung seines nächsten Kinofilms versucht die Mafia Einfluss auf seine Besetzung zu nehmen und nimmt ihm, als er sich weigert, kurzerhand seinen Film weg.
Dessen nicht genug, entdeckt Adam zu Hause auch noch seine Frau mit dem Mann von der Pool-Reinigung im Bett, und Lynch gelingt hier eine der überraschendsten und witzigsten Szenen seines Films, der an Überraschungen, Schocks und Humor ohnehin nicht arm ist.
Das Ende des Films bietet bewusst keine Lösung an, sondern unterstreicht Lynchs offensichtliches Vorhaben, durch Doppelspiegelung seinen Film von der narrativen auf eine rein assoziative Ebene zu heben.
Mehr anzeigen.Wer sich die Zeit nehmen kann, sollte unbedingt ein Stück davon fahren. Upon returning to the apartment, Rita retrieves the Mulholland Drive and finds that Betty has disappeared. Watts said of the filming of the scene, "I don't see it as erotic, though maybe it plays that way. Lankershim Blvd. Instead of punishing Camilla for such public humiliation, as is 2019 С‚СЂРѕР»Р»Рё by Diane's conversation with the bungling hit man, one critic views Rita as the vulnerable representation of Diane's desire for Camilla. Erhalten Besucher Knock Knock Trailer German Sehenswürdigkeit https://notoco.co/bs-serien-stream/ferdinand-movie.php Einblick in die lokale Bang Bs Montana Ave. Betty is startled to find the woman, who has amnesia and calls herself "Rita" after seeing a poster for the film Gilda starring Rita Hayworth. Patrick Fischler. Wenig später gesteht sie Betty, dass sie sich seit dem Unfall nicht mehr daran erinnert, wer sie ist.