Mulhollend-disk (film) - Mulholland Drive (film) - Wikipedia

Mulhollend-disk
Teatrlashtirilgan plakat
Rejissor	Devid Linch
Tomonidan ishlab chiqarilgan	Meri Suini Alen Sarde Nil Edelshteyn Maykl Polaire Toni Krantz
Tomonidan yozilgan	Devid Linch
Bosh rollarda	Justin Theroux Naomi Uotts Laura Elena Xarring Ann Miller Robert Forster
Musiqa muallifi	Anjelo Badalamenti
Kinematografiya	Piter Deming
Tahrirlangan	Meri Suini
Ishlab chiqarish kompaniya	Les Films Alain Sarde Asimmetrik ishlab chiqarish Babbo Inc. Kanal + Rasm fabrikasi
Tarqatgan	Universal rasmlar (Qo'shma Shtatlar) BAC filmlari (Frantsiya)
Ishlab chiqarilish sanasi	2001 yil 16-may (2001-05-16) (Kann ) 2001 yil 12 oktyabr (2001-10-12) (BIZ) 2001 yil 21-noyabr (2001-11-21) (Frantsiya)
Ish vaqti	146 daqiqa[1]
Mamlakat	Qo'shma Shtatlar[2][3] Frantsiya[2][3]
Til	Ingliz tili
Byudjet	15 million dollar[4]
Teatr kassasi	20,1 million dollar[5]

Mulhollend-disk (sifatida stilize qilingan Mulholland doktori) 2001 yil syurrealist neo-noir^[6][7] sirli film yozgan va boshqargan Devid Linch va bosh rollarda Naomi Uotts, Laura Xarring, Justin Theroux, Ann Miller, Mark Pellegrino va Robert Forster. Unda yangi kelgan Betti Elms (Vatt) ismli aktrisa haqida hikoya qilinadi Los Anjeles, kim bilan uchrashadi va do'stlashadi amniyak ayol (Xarring) avtohalokatdan qutulgan. Hikoya boshqa bir nechta voqealarni ta'qib qiladi vinyetkalar va qahramonlar, shu jumladan Gollivud kinorejissyori (Theroux).

Amerika-Frantsiya qo'shma ishlab chiqarilishi dastlab a televizion uchuvchi va filmning katta qismi 1999 yilda Lynchning potentsial seriyalar uchun ochiq holda saqlash rejasi bilan suratga olingan. Biroq, Linchning qisqartirilishini ko'rgandan so'ng, televizion rahbarlar buni rad etishdi. Keyinchalik Linch loyihani oxiriga etkazdi va uni amalga oshirdi badiiy film. Yarim uchuvchi, yarim xususiyatli natija, Linchning o'ziga xos syurrealistik uslubi bilan bir qatorda, film voqealarining umumiy ma'nosini izohlash uchun ochiq qoldirdi. Linch ushbu rivoyat uchun o'z niyati haqida tushuntirish berishdan bosh tortdi, tomoshabinlar, tanqidchilar va aktyorlar tarkibi nimalar sodir bo'lishini taxmin qilish uchun qoldirdi. U filmga "Orzular shahridagi sevgi hikoyasi" yorlig'ini berdi.^[8]

A deb tasniflanadi psixologik triller, Mulhollend-disk Linchni qo'lga kiritdi Prix ​​de la mise en scène (Eng yaxshi rejissyor mukofoti) 2001 yil Kann kinofestivali, sovrinni Joel Coen uchun U erda bo'lmagan odam. Bundan tashqari, Linch ham daromad olar edi Akademiya mukofoti uchun nomzod Eng yaxshi rejissyor. Film Harringning karerasini boshlagan, Uottsning Gollivuddagi obro'sini sezilarli darajada oshirgan va Gollivudning faxriysi aktrisa rolini o'ynagan so'nggi badiiy film bo'lgan. Ann Miller.

Mulhollend-disk ko'pincha Linchning eng yaxshi asarlaridan biri va 21-asrning eng buyuk filmlaridan biri sifatida qaraladi va 28-o'rinni egalladi. 2012 Sight & Sound tanqidchilarning so'rovi eng yaxshi filmlarning eng yaxshi filmlaridan biri va 2016 yildagi eng yaxshi filmi so'rovnoma tomonidan BBC madaniyati 2000 yildan beri eng yaxshi filmlar.

Uchastka

Qora sochli ayol - avtohalokatda yagona omon qolgan Mulhollend-disk, baland qismida burilishli yo'l Gollivud tepaliklari. Jarohat olgan va shok holatida u Los-Anjelesga yo'l oladi va yashirincha kvartiraga kirib oladi. O'sha kuni ertalab Betti Elms ismli aktrisa odatda Rut xola yashaydigan kvartiraga keladi. Betti amnistiya kasalligiga chalingan va o'zini "Rita" deb atagan ayolni topishga hayron bo'lib, film afishasini ko'rdi Gilda yulduzcha Rita Xeyvort. Ayolning shaxsini eslashiga yordam berish uchun Betti Ritaning sumkasini qidiradi, u erda katta miqdordagi pul va g'ayrioddiy ko'k kalitni topadi.

Vinkie's deb nomlangan ovqatda, bir kishi boshqasiga, tushlik paytida, tushlik paytida, dahshatli odam bilan uchrashishni orzu qilgani haqida aytadi. Ular tergov qilganda, bu raqam paydo bo'lib, dahshatli tush ko'rgan odam qo'rqib qulab tushdi. Boshqa bir joyda, rejissyor Adam Kesherning filmini mafiozlar boshqargan va ular bosh rolni Kamilla Rods ismli noma'lum aktrisani surishlarini talab qilishgan. Odam rozi bo'lmay, uyiga qaytib, xotinini aldayotganini topdi. Mafiozlar uning kredit liniyasini qaytarib olishadi va uni o'z manfaatlari yo'lida Kamilani tashlashga undaydigan sirli kovboy bilan uchrashishni tashkil qilishadi. Ayni paytda, urishgan odam telefon raqamlari bilan to'ldirilgan kitobni o'g'irlamoqchi bo'lib, uch kishini o'ldirdi.

Beta va Rita Ritaning avariyasi haqida ko'proq bilmoqchi bo'lganlarida, Vinkinikiga borishadi va Diane ismli ofitsiant xizmat qilishadi, bu esa Ritaning "Diane Selvin" ismini eslashiga sabab bo'ladi. Ular Dayan Selvinni telefon kitobidan topib, unga qo'ng'iroq qilishadi, lekin u javob bermaydi. Betti kastingga boradi, u erda uning ijrosi yuqori baholanadi. Kasting agenti uni film chaqirilgan ovozli sahnaga olib boradi Silviya shimoliy hikoyasi, rejissyor Adam tomonidan suratga olinmoqda. Camilla Rhodes ko'rikdan o'tkazilganda, Adam uni kastingga topshiradi. Betti Odam bilan ko'zlarini yumadi, lekin u do'sti bilan uchrashishga kechikkanini aytib, u bilan uchrashishdan oldin qochib ketadi. Betti va Rita Diane Selvinning kvartirasiga borishadi, u erda qo'shnisi eshikni ochadi va Diane bilan kvartiralarni almashtirganligini aytadi. Ular qo'shnining kvartirasiga borib, eshikni hech kim ochmasa kiradilar. Yotoqxonada ular bir necha kundan beri o'lik bo'lgan ayolning jasadini topishadi. Ular dahshatga tushib, Betining kvartirasiga qaytib kelishadi, u erda Rita sarg'ish tul bilan o'zini yashiradi. U va Betti o'sha kuni jinsiy aloqada bo'lishdi.

Tungi soat 2 da, Rita to'satdan uyg'onib, darhol klub Silencio nomli teatriga borishni talab qildi. U erda emcee turli tillarda hamma narsa illyuziya ekanligini tushuntiradi; Rebeka Del Rio sahnaga chiqadi va qo'shiq aytishni boshlaydi Roy Orbison Qo'shiq "Yig'lamoq "Ispan tilida, keyin vokal davom etayotgan paytda hushidan ketib qulaydi. Betti sumkasidan Ritaning kalitiga to'g'ri keladigan ko'k qutini topadi. ​​Kvartiraga qaytib kelgach, Rita kalitni oladi va Betti g'oyib bo'lganini aniqlaydi. Rita qutini ochadi va u polga tushadi.

Dayan Selvin xuddi o'sha kvartirada yotgan joyida uyg'ongan Betti va Rita tergov qilishdi. U aynan Bettiga o'xshaydi, ammo muvaffaqiyatli aktrisa va aynan Ritaga o'xshagan Kamilya Rods bilan muvaffaqiyatsiz ishi tufayli chuqur depressiyaga tushgan qiynalayotgan aktrisa. Kamilaning taklifiga binoan Diane Mulholland Diskdagi Adamning uyidagi ziyofatda qatnashadi. Diane, kechki ovqat paytida, Rut xolasi vafot etganida va unga bir oz pul qoldirib, Kanadadan Gollivudga kelganini va Camilla bilan tanlovda uchrashganini aytdi. Silviya shimoliy hikoyasi. Oldingi "Camilla Rods" ga o'xshash yana bir ayol Kamilani o'padi va ular o'girilib Dayanga qarab jilmayishadi. Adam va Kamilla muhim e'lonni tayyorlashga tayyorlanmoqdalar, ammo ular kulgida eriydi va Diane yig'lab o'tirgancha o'pishadi. Keyinchalik, Diane Xitmeni Vinkie-da uchratadi, u Camillani o'ldirish uchun yollaganga o'xshaydi. U unga ish tugagandan so'ng ko'k kalitni topishini aytadi. Erkakning tushidagi raqam, mos keladigan ko'k qutiga ega ekanligi aniqlandi. Diane o'z xonadonida kofe stolidagi ko'k tugmachaga qaraydi. Xafa bo'lganidan, u gallyutsinatsiyalardan qo'rqib ketdi va qichqirganicha to'shagiga yugurdi va u o'zini otib tashladi. Teatrda bir ayol "Silencio" deb pichirladi.

Cast

Asosiy

• Naomi Uotts Betti Elms / Diane Selwyn sifatida
• Laura Elena Xarring Rita / Camilla Rhodes sifatida
• Justin Theroux Adam Kesher singari
• Ann Miller Coco sifatida
• Mark Pellegrino Jou singari

Qo'llab-quvvatlash

Ishlab chiqarish

Rivojlanish

Dastlab televizion seriya sifatida o'ylab topilgan, Mulhollend-disk uchun ishlab chiqarilgan 90 daqiqalik uchuvchi sifatida boshlandi Touchstone Televizion va uchun mo'ljallangan ABC televizion tarmoq. Toni Krantz, rivojlanish uchun mas'ul bo'lgan agent Twin Peaks, yana bir teleserialni suratga olish to'g'risida "ishdan bo'shatildi". Ajablanarlisi shundaki, Linch "Men bundan keyin hech qachon televizor qilmayman" deb fanerga yozgan. Dastlab ABC uchun uchuvchi uchun skript edi. Devid Linch bu g'oyani ABC rahbarlariga faqat avtohalokatda paydo bo'lgan Rita haqidagi sumkasida 125 ming dollar naqd pul va ko'k kalit bilan, shuningdek Betti kimligini tushunishga yordam berishga urinish haqidagi voqeani sotdi. ABC rahbariyati shunday esladi: "Men ushbu dahshatli, dahshatli halokatda bu ayolning sudralib yurganini eslayman va Dovud bizni odamlar uni ta'qib qilmoqda degan tushunchani masxara qilgan. U nafaqat" muammoga "duch kelgan - u ham emas bu muammo. Shubhasiz, biz: "Keyin nima bo'ladi?" Va Dovud: "Men senga aytib berishim uchun maydonchani sotib olishing kerak.'"Linch ABCga uchuvchini qo'pol ravishda kesib tashlaganini ko'rsatdi. Buni ko'rgan kishi, Linchning so'zlariga ko'ra, uni ertalab soat oltida tomosha qilar edi va kofe ichib, o'rnidan turar edi. U uchuvchidan nafratlandi va ABC uni darhol bekor qildi. Per Edleman , Lichning Parijdagi do'sti tashrif buyurib, u bilan filmning badiiy filmi ekanligi to'g'risida gaplashishni boshladi.Edleman Parijga qaytib ketdi. Kanal + bu filmni filmga aylantirish uchun Linchga pul bermoqchi edi va muzokaralar olib borishga bir yil vaqt ketdi.^[9][10]

Linch, televizor vositasi torayishini bilganiga qaramay, uchuvchi g'oyasining jozibadorligini quyidagicha tasvirlab berdi: "Men davom etayotgan hikoyaning so'rg'ichiman ... Nazariy jihatdan siz juda chuqur hikoyani olishingiz mumkin va siz ham shunday qilishingiz mumkin chuqur va dunyoni shunchalik chiroyli ochingki, buning uchun vaqt kerak. "^[11] Hikoya kiritilgan syurreal Linchning oldingi seriyasiga o'xshash elementlar Twin Peaks. Buning uchun zamin yaratildi hikoya yoylari, masalan, Ritaning shaxsiyati sirlari, Bettining karerasi va Adam Kesherning film loyihasi.^[12]

Aktrisa Sherilin Fenn 2014 yilgi intervyusida asl g'oya filmni suratga olish paytida paydo bo'lganligini aytdi Twin Peaks, kabi quyi tashkilot ochish uning xarakteriga bag'ishlangan film Audrey Xorn.^[13]

Kasting

Naomi Uotts, Devid Linch, Laura Elena Xarring va Jastin Teru 2001 yil Kann kinofestivali

Linch aktyorlari Naomi Uotts va Laura Xarring ularning fotosuratlari bo'yicha. U ularni yarim soatlik intervyular uchun alohida-alohida chaqirib, filmlarida yoki televizorda avvalgi asarlarini ko'rmaganligini aytdi.^[14] Xarring o'zining birinchi intervyusiga borishda kichik avtohalokatga uchraganini taqdirli deb bildi, faqat uning xarakterini bilish uchun filmdagi avtohalokatga uchragan bo'lishi mumkin edi.^[15] Votts Nyu-York shahridan samolyotdan to'g'ridan-to'g'ri birinchi intervyu uchun jinsi kiyib keldi. Linch undan ertasi kuni "ko'proq glammed" qaytib kelishini so'radi. Ikki haftadan so'ng unga ushbu qismni taklif qilishdi. Linch Vatt tanlovini quyidagicha izohladi: "Men ulkan iste'dodga ega bo'lgan odamni ko'rdim va men juda yaxshi ruh, aql-idrokka ega bo'lgan odamni ko'rdim - bu juda ko'p turli xil rollar uchun imkoniyatlar, shuning uchun bu juda chiroyli to'plam edi".^[16] Justin Theroux shuningdek, Linch bilan samolyot parvozidan keyin bevosita uchrashgan. Uzoq parvozdan so'ng, ozgina uxlab qolgan Tereux hamma qora kiyimda, sochlari toza bo'lmagan holda yetib keldi. Ushbu ko'rinish Lynchga yoqdi va Odamga xuddi shunday kiyim va bir xil soch turmagi kiyib olishga qaror qildi.^[17]

Suratga olish

1999 yil fevral oyida televizion uchuvchi uchun suratga olish Los-Anjelesda boshlangan va olti hafta davom etgan. Oxir oqibat, tarmoq uchuvchidan norozi bo'lib, uni o'z jadvaliga kiritmaslikka qaror qildi.^[18][19] E'tirozlarga chiziqli bo'lmagan voqealar, Harring va Uottsning yoshi (ular juda eski deb hisoblashgan), Enn Millerning xarakteri bilan sigaret chekish va bitta sahnada itning najasini tortib olish kiradi. Linch shunday esladi: "Men bilganim shuki, men uni yasashni yaxshi ko'rardim, ABC uni yomon ko'rardi va men tanlaganimni yoqtirmayman. Men ABC bilan uzunroq kesish juda sekin bo'lganiga rozi bo'ldim, lekin men uni so'yishga majbur bo'ldim. bizda biron bir muddat bor edi, va biron bir narsani nozik qilish uchun vaqt yo'q edi, u to'qimalarni, katta sahnalarni va voqealar jadvallarini yo'qotdi, shuningdek, yomon versiyaning 300 tasmali nusxalari tarqalmoqda. Ko'p odamlar buni ko'rishdi, bu xijolat bo'lmoqda, chunki ular Bu ham sifatsiz lentalar. Men bu haqda o'ylashni xohlamayman. "^[20]

Keyinchalik ssenariy qayta yozildi va kengaytirildi, chunki Linch uni badiiy filmga aylantirishga qaror qildi. Ochiq uchuvchidan turli xil piksellar soniga ega badiiy filmga o'tishni tasvirlab, Linch shunday dedi: "Bir kecha men o'tirdim, g'oyalar paydo bo'ldi va bu eng go'zal voqea bo'ldi. Hammasi boshqacha tomondan ko'rildi ... Endi orqaga qarab, [film] har doim shunday bo'lishni xohlaganini ko'rmoqdaman. Shunchaki g'alati boshlanish uni qanday bo'lsa shunday bo'lishiga olib keldi. "^[8] Natijada, Rita va Betti o'rtasidagi romantik munosabatlar va ko'k quti ochilgandan keyin sodir bo'lgan voqealarni o'z ichiga olgan qo'shimcha o'n sakkiz sahifali material paydo bo'ldi. Vatt uchuvchini ABC tashlab yuborganidan yengil tortdi. U Bettini juda bir o'lchovli deb topdi, keyinchalik filmning qorong'i qismi bo'lmasdan.^[21] Yangi sahnalarning aksariyati 2000 yil oktyabr oyida suratga olingan bo'lib, frantsuzlar tomonidan 7 million dollar mablag 'evaziga moliyalashtirildi ishlab chiqarish kompaniyasi StudioCanal.^[14]

Teru syujetni to'liq anglamay turib, suratga olish jarayoniga yaqinlashishni quyidagicha tasvirlab berdi: "Siz to'liq ssenariyni olasiz, lekin u siz bo'lmagan sahnalarni ushlab qolishi ham mumkin, chunki hamma qismlarga qaraganda sirli bo'lib chiqadi. Dovud savollarni qabul qiladi, ammo u ularning birortasiga javob berolmaysiz ... Siz qanday qilib yarim ko'r-ko'rona ishlaysiz, agar u birinchi marta rejissyor bo'lganida va bu usulning biron bir buyrug'ini namoyish qilmagan bo'lsa, menda rezervasyonlar bo'lishi mumkin edi, ammo bu uning uchun ishlaydi. . "^[22] Teruxning ta'kidlashicha, Linchning bergan yagona javobi shundaki, u Gollivud rejissyori bo'lgan Teroning xarakteri Linchning avtobiografik emasligiga amin edi. Uotts, u o'zini fitna uyushtirgandek qilib ko'rsatib, Lynxni o'chirishga urinib ko'rganini va u aktyorlarning hafsalasi pir bo'lganidan xursand ekanligini aytdi.^[14]

Mavzular va talqinlar

Filmga faqat "Orzular shahridagi sevgi hikoyasi" yorlig'ini berish,^[8] Devid Linch bu haqda izoh berishdan bosh tortdi Mulhollend-disk's ma'nosi yoki ramziylik, ko'p munozaralarga va ko'p talqinlarga olib keladi. Christian Science Monitor kino tanqidchisi Devid Sterritt Kannda namoyish etilganidan keyin Linch bilan suhbatlashdi va rejissyor "buni talab qilganini" yozdi Mulhollend-disk Linchning ilgari surilgan filmlaridan farqli o'laroq, izchil, tushunarli voqeani hikoya qiladi " Yo'qotilgan magistral.^[24] Boshqa tomondan, Jastin Toro Linchning filmda odamlar qabul qiladigan ko'p ma'noga bo'lgan hissiyotlari haqida shunday dedi: "Menimcha, u siz xohlagan narsani anglatishi uchun u chin dildan xursand. U odamlar buni juda g'alati talqin qilishganda yaxshi ko'radilar. Devid ishlaydi uning ongi ".^[22]

Orzular va muqobil haqiqatlar

Filmni erta talqin qilishda foydalaniladi tushlarni tahlil qilish birinchi qism o'z tarixini va personajini eski Gollivud filmi singari narsaga aylantirib, o'zini begunoh va umidvor "Betti Elms" deb nomlagan haqiqiy Diane Selvinning orzusi. Betti tushida muvaffaqiyatli, maftunkor va yaqinda taniqli aktrisaning hayoliy hayotida yashaydi. Filmning so'nggi beshdan birida Dianening shaxsiy hayoti va professional jihatdan muvaffaqiyatsizlikka uchragan haqiqiy hayoti namoyish etiladi. U sobiq sevgilisi Kamilani o'ldirishni va aybiga dosh berolmayotganini uyushtiradi, uni o'ziga qaram, egiluvchan amniyak Rita sifatida tasavvur qiladi. Uning muqarrar ravishda yo'q bo'lib ketishiga oid maslahatlar uning orzusi davomida paydo bo'lishda davom etmoqda.^[25]

Ushbu talqin Naomi Uottsning intervyusida aytganiga o'xshash edi: "Men Dianeni haqiqiy qahramon, Betti esa u bo'lishni xohlagan va orzu qilgan odam deb o'ylardim. Rita - bu iztirobda bo'lgan qiz va u Betiga mutlaqo muhtoj, va Betti uni xuddi qo'g'irchoq kabi boshqaradi. Rita - Bettining Kamilani kim bo'lishini xohlashi haqidagi fantaziyasi. "^[21] Uottsning Gollivuddagi dastlabki tajribalari Dianening tajribalari bilan parallel. Muvaffaqiyatli bo'lishidan oldin u ba'zi professional ko'ngilsizliklarni boshdan kechirdi, u ishonmagan qismlarini sinovdan o'tkazdi va imkoniyatlarga amal qilmaydigan odamlar bilan uchrashdi. U shunday dedi: "Va'dalar ko'p edi, lekin aslida hech narsa yuz bermadi. Men pulim tugab, yolg'iz qoldim".^[26] Maykl Vilmington, uchun yozish The Chicago Tribune "Mulholland Diskda" hamma narsa dahshatli tush. Bu Gollivudning nafrat, hasad, murosasiz murosaga kelish va qalblarni o'ldirish kabi zaharli go'shtiga aylanib, g'azablanganga aylanib ketayotgan oltin orzusining tasviri. bizning jozibali fantaziyalarimiz va Linchning bu erda ko'rsatadigan maydoni real tasvirlangan ".^[27]

Guardian oltita taniqli kinoshunoslardan umumiy ma'noda o'zlarining tasavvurlarini so'radi Mulhollend-disk. Nil Roberts Quyosh va Tom Charity of Taym-aut; turib qolish; tanaffus Betti Dianening baxtli hayot haqidagi proektsiyasi degan nazariyaga obuna bo'ling. Rojer Ebert va Jonathan Ross bu talqinni qabul qilgandek tuyuladi, lekin ikkalasi ham filmni tahlil qilishni ikkilanadilar. Ebert shunday deydi: "Hech qanday tushuntirish yo'q. Hatto sir ham bo'lmasligi mumkin". Ross hech qaerga bormaydigan voqealar borligini ta'kidlaydi: "Ehtimol, bu uchuvchi tomonidan ilgari ko'zda tutilgan qoldiq bo'lishi mumkin yoki ehtimol bu narsalar sekvestorlar va tushlarning ong osti. "^[28] Filipp frantsuz dan Kuzatuvchi buni Gollivud fojiasiga kinoya deb biladi, Jeyn Duglas esa BBC Betti hayoti nazariyasini Dyunning orzusi sifatida rad etadi, shuningdek, ortiqcha tahlillardan ogohlantiradi.^[28]

Media nazariyotchisi Siobhan Lion ham xuddi shunday tushlar nazariyasiga qo'shilmaydi va bu "yuzaki talqin [Linchning koinotida tez-tez sodir bo'ladigan haqiqatning bema'nilik kuchiga putur etkazadi").^[29] Buning o'rniga, Lionlar Betti va Diane aslida ikki xil odamlar, go'yo Gollivud yulduzlari orasida odatiy ko'rinishga ega deb o'ylashadi. Shunga o'xshash talqinda Betti va Rita, Diane va Kamilla mavjud bo'lishi mumkin parallel koinotlar ba'zan o'zaro bog'liqdir. Taklif qilingan yana bir nazariya shundan iboratki, rivoyat a Mobius chizig'i, boshi va oxiri bo'lmagan buralgan tasma.^[30] Yoki butun film - bu orzu, ammo kimning orzusi noma'lum.^[31] Yotoqxonalar, yotoqxonalar va uxlash to'g'risida takroriy murojaat qilish tushlarning og'ir ta'sirini ramziy qiladi. Rita bir necha marta uxlab qoladi; ushbu epizodlar orasida, Vinkie-da suhbatlashayotgan erkaklar, Betti Los-Anjelesga kelgani va xit-xit kabi aloqalar uzilib qolgan, bu Rita ularni orzu qilayotgan bo'lishi mumkin. Filmning boshlanishi noma'lum shpal yotgan to'shakka yaqinlashadi, kinofilm olimi Rut Perlmutterning so'zlariga ko'ra, quyidagilar haqiqatmi yoki yo'qligini so'rash zaruriyati tug'diradi.^[32] Orzularshunoslik professori Kelli Bulkli, tushlar yoki tushlar haqida aniq aytib o'tilgan yagona narsa bo'lgan oshxonadagi dastlabki sahna "ochib beradigan haqiqatni va epistemologik Linchning filmidagi noaniqlik ".^[33] Vinki odamlari bilan suhbatlashadigan tushdagi dahshatli mavjudot, film oxirida Diane o'z joniga qasd qilishdan oldin va keyin paydo bo'ladi. Bulkeleyning ta'kidlashicha, ushbu sahnada tushlarning yolg'iz muhokama qilinishi "filmda sodir bo'layotgan barcha narsalarni tushunishning yangi usuli" ga ochilishdir.^[33]

Faylasuf va kino nazariyotchisi Robert Sinnerbrink xuddi shu tarzda Dianening aniq o'z joniga qasd qilishidan keyingi tasvirlar "orzu va haqiqat" talqiniga putur etkazishini ta'kidlaydi. Diane o'zini otib tashlaganidan so'ng, to'shak tutunni yutib yuboradi va Betti va Rita bir-biriga nur sochib turishganini ko'rsatishadi, shundan so'ng "Silencio" klubining balkonidagi ayol shivirlaydi "Silencio"ekran qora rangga aylanib ketganda. Sinnerbrink" yakuniy tasvirlar fantaziya va haqiqat o'rtasida aniqlanmagan zonada suzadi, bu kinematik tasvirning chinakam metafizik o'lchovidir ", deb yozadi va shu bilan" oxirgi ketma-ketlik "tarkibida bo'lishi mumkin. Dianening o'layotgan ongining xayoliy tasvirlari, uning o'limining haqiqiy momenti bilan yakunlanadi: yakuniy Silencio".^[34] Xuddi shu ketma-ketlikka ishora qilib, kino nazariyotchisi Endryu Xeyeman "Betti / Dianening o'z joniga qasd qilishidan keyin paydo bo'lgan to'qson ikkinchi kuda - bu uning tirik ongiga parda tushganidan keyin ham davom etadigan kinematik makon va bu doimiy makon - bu teatr. illyuziya xayoliyligi doimo niqob ostida ".^[35]

Kino nazariyotchisi Devid Roshning yozishicha, Linch filmlari shunchaki detektiv voqealarni hikoya qilib bermaydi, aksincha tomoshabinlarni voqealarni tushunib olishlari uchun detektiv bo'lishga majbur qiladi va Mulhollend-disk, boshqa Linch filmlari singari, "tomoshabinning oqilona ehtiyojini qondiradi Diegiz tomoshabin xatosi bilan o'ynash orqali rivoyat Diegezis bilan sinonimga aylanadi ". Linchning filmlarida tomoshabin har doim" hikoyadan bir qadam orqada "turadi va shu tariqa" rivoyat Diegizdan ustun turadi ".^[36] Roche shuningdek, filmda Betti va Rita singari boshi berk ko'chalarni uchratgan yoki Odam Ato singari tazyiqlarga duchor bo'lgan qahramonlar tomonidan javobsiz qoladigan bir qancha sirlar borligini ta'kidlamoqda. Tomoshabinlar hanuzgacha voqealarni tushunishga qiynalgan bo'lsalar-da, personajlar endi o'zlarining sirlarini hal qilishga urinishmayapti. Roche shunday xulosaga keladi Mulhollend-disk bu sirli film, chunki u tomoshabinlarga savolning echimini ko'rish imkoniyatini beradi, lekin filmning o'zi "tomoshabin-detektivning" buni tushunishga intilishi "bilan birlashtiriladigan sirdir.^[36]

"Gollivudga zaharli valentin"

Los Anjelesning Mulholland Diskdan ko'rinishi shahar imkoniyatlarining ramziy vakili bo'ldi.

Nazariyalarning ko'payishiga qaramay, tanqidchilar ta'kidlashlaricha, hech qanday izoh filmdan kelib chiqadigan barcha bo'shashgan maqsadlar va savollarni qondirmaydi. Stiven Xolden The New York Times yozadi "Mulhollend-disk biron bir qahramonning muhabbat hayoti yoki professional ambitsiyalari bilan aloqasi yo'q. Film Gollivudning jozibasi va filmni tomosha qilish tajribasi va'da qilgan ko'plab rollarni ijro etish va o'z-o'zini ixtiro qilish to'g'risida tobora chuqurlashib borayotgan aksidir ... Tushdagi hayotga kirish va dasturlash qudratidan kattaroq kuch bor. madaniyatmi? "^[37] J. Hoberman dan Qishloq ovozi ushbu fikrni "Gollivudga zaharli valentin" deb atash bilan takrorlaydi.^[38]

Mulhollend-disk bilan solishtirildi Billi Uaylder "s film noir klassik Quyosh botishi bulvari (1950), Gollivuddagi singan orzular haqidagi yana bir ertak,^[8][39][40] va Rita filmining boshida tunda Sunset bulvari orqali o'tish namoyish etiladi. Ikkala unvondan tashqari Los-Anjelesning taniqli ko'chalari nomi bilan atalgan, Mulhollend-disk "Uaylderning e'tiborini jalb qilgan narsa haqida Linchning o'ziga xos hikoyasi: inson chiriganlik (Linch o'zining matbuot anjumani paytida bir necha marta ishlatgan Nyu-York kinofestivali 2001) o'ldiradigan illuziyalar shahrida ".^[41] Filmning nomi Gollivudning taniqli madaniyatiga havola. Devid Linch Mulxollend Drive yaqinida yashaydi va o'z intervyusida shunday dedi: "Kechasi siz dunyoning eng yuqori qismida yurasiz. Kunduzi siz ham dunyoning tepasida yurasiz, lekin bu sirli va qo'rquv sochlari bor, chunki u olis hududlarga ketadi. Siz shu yo'lda Gollivud tarixini his qilasiz. "^[8] Uotts ham karerasi yo'lga qo'yilguniga qadar yo'lda tajribaga ega edi: "Esimda, ko'cha bo'ylab ko'p marta yurganimda mashinamda yuragimni siqib chiqarib:" Men bu erda nima qilayapman?'"^[16]

Tanqidchi Gregori Vayt tomoshabinlarni filmdagi voqealarni kinik talqin qilishdan ogohlantiradi va Linch "o'zining fasadidan ko'proq narsani taqdim etadi va u faqat yovuzlik va yolg'onga ishonadi" deb ta'kidlaydi.^[42] Linch Gollivud madaniyatidagi hiyla-nayrang, hiyla-nayrang va soxta da'volar haqida bayonot bergani kabi, u ham infuziya qiladi nostalji butun film davomida va haqiqiy san'at mumtoz kino ijodidan kelib chiqqanligini tan oladi, chunki Linch aktyor faxriy aktyorlarga hurmat bajarmoqda. Ann Miller, Li Grant va Chad Everett. Shuningdek, u Betti nihoyatda iste'dodli va uning qobiliyatlarini ko'ngilochar sohadagi qudratli odamlar payqashini tasvirlaydi.^[42] Film nostalji va Gollivudning chirishi o'rtasidagi qarama-qarshi pozitsiyalarni sharhlab, Stiven Dillon deb yozadi Mulhollend-disk Gollivud madaniyatini qoralash kabi tanqidiy "sinefiliya "(kino ijodining maftunkorligi va u bilan bog'liq bo'lgan xayolotlar).^[43]

Harring filmni ko'rgandan keyin uning talqinini quyidagicha tasvirlab berdi: "Birinchi marta ko'rganimda, bu Gollivudning orzulari, xayol va obsesyoni haqida o'ylardim. Bu hech narsa ko'rinadigan darajada emas degan fikrga, xususan, bo'lish g'oyasiga tegadi. Gollivud kino yulduzi. Ikkinchi va uchinchi marta ko'rganimda, bu shaxsiyat bilan bog'liq deb o'ylardim, biz kim ekanligimizni bilamizmi? Va keyin undagi turli xil narsalarni ko'rishda davom etdim ... Birov olib qo'ygan narsaning haqi yoki yomonligi yo'q. film yoki ular aslida film haqida nima deb o'ylashadi. Bu sizni doimiy ravishda o'ylashga majbur qiladigan, savollar berishga majbur qiladigan film. Men "Bu filmni men yana ko'raman" yoki "Bu yana ko'rishingiz kerak bo'lgan film. ' Bu sizni qiziqtiradi. Siz uni olishni xohlaysiz, lekin menimcha, bu film olinishi kerak emas. Agar u sizni savollar berishga undasa, maqsadiga erishdi. "^[44]

Queer identifikatorlari

Betti va Rita hamda Diane va Kamilla o'rtasidagi munosabatlar turli xil "teginish", "harakatlanish", shuningdek "titrash" deb ta'riflangan. Film tanqidchisi Glenn Kenni, uchun filmni sharhida Premer, Betti va Rita o'rtasidagi munosabatlar "ehtimol Lynch filmida tasvirlangan eng sog'lom va ijobiy sevgidir",^[45] frantsuz tanqidchisi esa Thierry Jousse, uning sharhida Cahiers du cinéma, tasvirlangan ayollar o'rtasidagi muhabbat "zamonaviy kinoda deyarli tengsiz lirika" ekanligini aytdi.^[46] Sahifalarida Film izohi, Filipp Lopate Betti va Rita o'rtasidagi asosiy romantik intermediya, Bettining "o'z-o'zini hayratga solgan holda birinchi marta tushunishi bilan, uning boshqa ayolga bo'lgan barcha yordamchanligi va qiziquvchanligi bir narsani anglatishini ta'kidladi: xohish ... Bu O'zining mehr-muhabbati va g'ayrioddiy narsalardan uzoqligi bilan go'zal lahzani yanada mo''jizaviy qildi. "^[31] Stefani Zaxarek ning Salon jurnal sahnaning "erotizmi shunchalik kuchli ediki, u butun filmni yopib qo'ydi, avvalgi va keyingi voqealarni bo'yab turardi".^[47] Betti va Rita tomonidan tanlangan Mustaqil kino kanali 2000-yillarning ramziy romantik juftligi sifatida. Yozuvchi Charlz Teylorning aytishicha, "Betti va Rita ko'pincha qorong'ilikka qarshi turishadi, shunchalik yumshoq va baxmalga o'xshaydiki, bu xuddi hoverga o'xshaydi nimbus, agar film tushidan uyg'ongan bo'lsa, ularni yutib yuborishga tayyor. Va ular yutib yuborilganda, do'zaxning oltingugurtining o'zi bizning ko'zimizni xira qilgandek ramkani tutun qoplaganda, biz nafaqat romantikani buzgan, balki dunyoning go'zalligini la'natlagan kabi his qilamiz ".^[48]

Ba'zi kino nazariyotchilarining ta'kidlashicha, Linch filmning estetik va tematik tarkibiga qiziquvchanlikni qo'shadi. Lineer bo'lmagan film "hikoya izchilligini saqlab turishga qodir emas", chunki Li Uollesning ta'kidlashicha, "lezbiyenlik hikoya realizmining mafkuraviy konventsiyalarini eritib, Linchning puxta chizilgan filmi doirasida bahslashayotgan hikoya olamlarini almashtirish nuqtasi sifatida ishlaydi".^[49] Film davomida nometall va doppelgangerlarning mavjudligi "lezbiyenlik istagining keng tarqalgan vakili".^[50] Betti va Rita o'rtasidagi o'zaro bog'liqlik, bu to'g'ridan-to'g'ri obsesyon bilan chegaradosh - shunga o'xshash ikkita filmdagi ayollar munosabatlariga taqqoslangan, Ingmar Bergman "s Persona (1966) va Robert Altman "s 3 ayollar (1977), shuningdek, zaif ayollarning chalkashib ketadigan, o'zaro almashadigan va oxir-oqibat birlashib ketadigan xususiyatlarini tasvirlaydi: "Ayol juftliklar o'zaro ta'sirlari bilan bir jinsli istak bilan qahramon (ine) ibodatiga zid keladigan bir-birlarini aks ettiradi".^[51] Linch to'g'ridan-to'g'ri hurmat qiladi Persona Rita, xuddi Bettining sochlariga o'xshab tikilgan, sariq sochni kiyib olgan sahnada. Keyin Rita va Betti ko'zguda bir-birlariga "diqqatni jismoniy o'xshashligiga e'tibor qaratib, ketma-ketlikni quchoqlash mavzusi, jismoniy bog'lanish va birlashish yoki ikki baravar bo'lish fikri bilan bog'lashadi".^[50] Film davomida ko'zga ko'ringan mavzular bo'lgan aks ettirish va dublyajlar filmning shakli va mazmunini yanada ravshanlashtirishga xizmat qiladi.

Bir necha nazariyotchilar Linchni lesbiyanlar, biseksuallar va lezbiyan munosabatlaridagi stereotiplar va klişelarni davom ettirishda ayblashdi. Rita (femme fatale) va Betti (maktab qizi) ikkita klassik lezbiyen belgilarini anglatadi; Xizer Love filmda ishlatilgan ikkita asosiy klişeni ajratib ko'rsatdi: "Linch lezbiyanizmni o'zining beg'ubor va keng ko'rinishida namoyish etadi: lezbiyen istagi bitta katta sarguzasht bo'lib ko'rinadi, jozibali va noma'lum hududga kirish".^[52] Shu bilan birga, u fojiali lesbiyan uchburchagini taqdim etadi, unda "jozibali, ammo mavjud bo'lmagan ayol o'ziga xos jozibali ayolni faqat lezbiyen deb atagan", biseksual "erkak bilan tugaydigan" stereotipni davom ettiradi.^[52] Mariya San Filippo, Linch Kamilaning xiyonatini rivojlantirish uchun klassik nayrang arxetiplariga tayanadi, deb tan oladi: ushbu arxetiplar "shu qadar singib ketganki, tomoshabinlar darhol" Rita "u ko'rinadigan narsa emas va bu faqat vaqt masalasi" u o'zining ikki nusxadagi tabiatini ochishdan oldin. "^[53] Sevgi uchun Dianening faqat lezbiyan istagi, agar u rad etilsa, "muvaffaqiyat va muvaffaqiyatsizlik o'rtasida, shahvoniylik va rad qilish o'rtasida, hatto hayot va o'lim o'rtasida".^[52] Diane - bu geteroseksual munosabatlarda biseksualdan keyingi fojiali lezbiyen klişasi. Love filmni tahlil qilganida filmning lezbiyen tarkibiga ommaviy axborot vositalarining o'ziga xos munosabati qayd etilgan: "sharhlovchilar filmning jinsiy sahnalari xususan rapsodlangan va uzoq vaqt davomida, xuddi go'yoki bir jinsli ayollarning ushbu vakolatxonasidan kim bahramand bo'lishlari uchun tanlov bo'lib o'tgandek. eng. "^[52] Uning ta'kidlashicha, filmda adabiyotda va lesbiyan munosabatlari tasvirlangan klassik mavzudan foydalanilgan: Kamilani Dianeni Adam uchun rad etib, u juda chiroyli va mavjud bo'lgan. Filmga bo'lgan mashhur munosabat, Betti va Rita hamda Diane va Kamilla o'rtasidagi qarama-qarshi munosabatlarni "er yuzidagi eng issiq narsa va shu bilan birga, tubdan achinarli va hech qanday erotik bo'lmagan narsa sifatida tushunish" ni "heteroseksual buyurtma" deb ta'kidlamoqda. o'zini tashlab ketilgan ayolga ta'sir qiladi.^[52]

Geteroseksualizm birlamchi sifatida filmning ikkinchi yarmida muhim ahamiyatga ega, chunki Diane va Kamilaning munosabatlarining yakuniy tugashi geteroseksual juftlikning nikohidan kelib chiqadi. Odam Atoning partiyasida ular Kamilla va Odam turmushga chiqqani haqida e'lon qilishni boshlaydilar; kulish va o'pish orqali deklaratsiya kechiktiriladi, chunki bu aniq va kutilgan. Sahnaning heteroseksual yopilishi sahnani o'zgartirish bilan to'xtatiladi. Li Uolles ta'kidlaganidek, Kamilaga qarshi zarbani rejalashtirish bilan "Diane bu sohadagi voqeaning heteroseksual yopilishini chetlab o'tadi, lekin faqat uning hikoyalar dunyosiga o'tib, har ikkala ayol uchun ham halokatli ekanligini isbotlaydi, trillerning sabab va ta'sir munosabatlari tubdan film taqdim etganidek, lesbiyanizm syujeti bilan mos kelmaydi ".^[49] Joshua Bastian Koul uchun Odamning fe'l-atvori Dianening plyonkasi bo'lib xizmat qiladi, u hech qachon bo'la olmaydi, shu sababli Kamilla uni tark etadi. O'zining xayolida Odam Atoning o'ziga xos pastki chizig'i bor, bu uning xo'rlanishiga olib keladi. Ushbu subplotni hasaddan kelib chiqqan qasos fantaziyasi deb tushunish mumkin bo'lsa-da, Koul bu Dianening transgender qarashlariga misol bo'la oladi, deb ta'kidlaydi: "Odam ko'zgu kabi ishlaydi, Diane o'zini o'zi loyihalashi mumkin bo'lgan erkak narsadir".^[54] Dianening Vinkie-da Dan bilan uzoq vaqt ko'z bilan aloqa qilishi - bu qarashning yana bir misoli. Koul uchun "Dianening Danni g'oyat g'alati tanishi, u shunchaki identifikatsiyalash emas, balki boshqa bir narsadir, u o'z egri chizig'ida imkonsiz juftliklar o'rtasida chizilgan transni his qiladi" va ularning o'xshash ismlari (Dan / Diane), bu xato emas.^[54] Uning ta'kidlashicha, filmni lesbiyan tushunchasi trans translatsiyalarni soya ostiga qo'ygan; uning Dianening trans-nigohini o'qishi filmning g'oyat ravshan bayoniga hissa qo'shadi.

Media-da Naomi Uotts va Laura Elena Xarringning ularning ekrandagi munosabatlari haqidagi qarashlari turlicha va qarama-qarshi bo'lgan. Votts ushbu sahnani suratga olish to'g'risida "Men buni erotik deb bilmayman, garchi u shunday o'ynasa ham mumkin. So'nggi bor ko'rganimda, voqea qaerga ketayotganini bilganim uchun aslida ko'zlarimda yosh bor edi. yuragimni biroz sindirib tashladim. "^[55] Biroq, boshqa bir intervyusida Watts "Men bularning barchasi ekranda qanchalik samimiy va haqiqat ekanligiga hayron bo'ldim. Bu qizlar haqiqatan ham sevib qolishgan va bu juda qiziq bo'lgan erotik edi", dedi.^[26] Xarringning so'zlari keltirilgan edi: "Sevgi sahnasi mening ko'zlarimda paydo bo'ldi. Betining yordami uchun Rita juda minnatdor, shuning uchun men u bilan xayrlashib, xayrlashmoqdaman, rahmat, chin yurakdan, men o'paman U bizni tortib oladigan energiya bor. Albatta, men amneziya kasalligiga chalinganman, shuning uchun buni oldin ham qilganimni bilmayman, lekin biz aslida lezbiyanmiz deb o'ylamayman. "^[56] Xezer Sevgi Harringning o'zligini tasdiqlaganida, uning fikri bilan biroz rozi bo'ldi Mulhollend-disk istak kabi muhim emas: "biz kimligimiz ko'p narsani hisobga olmaymiz - buning o'rniga nima qilishimiz kerak, nima qilishni xohlaymiz".^[52]

Belgilar

Betti (Uotts) Los-Anjelesga keladi; Irene bilan tasvirlangan (Jeanne Bates ). Betti yorqin va nekbin, farqli o'laroq Diane, shuningdek Uotts o'ynagan - filmning keyingi qismida.

Betti Elms (Naomi Uotts) - Los-Anjelesga yorqin va iste'dodli yangi kelgan, "sog'lom, optimistik, shaharni bo'ron bilan olishga qaror qilgan",^[31] va "bema'ni sodda".^[57] Her perkiness and intrepid approach to helping Rita because it is the right thing to do is reminiscent of Nensi Drew for reviewers.^[57][58][59] Her entire persona at first is an apparent cliché of small-town naïveté. 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.^[57] Naomi Watts, who modeled Betty on Doris kuni, Tippi Hedren va Kim Novak, observed that Betty is a thrill-seeker, someone "who finds herself in a world she doesn't belong in and is ready to take on a new identity, even if it's somebody else's".^[21] This has also led one theorist to conclude that since Betty had naïvely, yet eagerly entered the Hollywood system, she had become a "complicit actor" who had "embraced the very structure that" destroyed her.^[35] In an explanation of her development of the Betty character, Watts stated:

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 qildi have to reconcile all of that, and people seem to think it works.^[60]

Betty, however difficult to believe as her character is established, shows an astonishing depth of dimension in her audition.^[40][61] Previously rehearsed with Rita in the apartment, where Rita feeds her lines woodenly, the scene is "dreck"^[31] and "hollow; every line unworthy of a genuine actress's commitment", and Betty plays it in rehearsal as poorly as it is written.^[61] Nervous but plucky as ever at the audition, Betty enters the cramped room, but when pitted inches from her audition partner (Chad Everett), she turns it into a scene of powerful sexual tension that she fully controls and draws in every person in the room. 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.^[61] Betty's acting ability prompts Ruth Perlmutter to speculate if Betty is acting the role of Diane in either a dream or a parody of a film that ultimately turns against her.^[32]

Rita (Laura Elena Harring) is the mysterious and helpless apparent victim, a classic femme fatale with her dark, strikingly beautiful appearance. Roger Ebert was so impressed with Harring that he said of her "all she has to do is stand there and she is the first good argument in 55 years for a Gilda remake".^[58] She serves as the object of desire, directly oppositional to Betty's bright self-assuredness. 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.^[62] Instead of threatening, she inspires Betty to nurture, console and help her. 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".^[31] A character analysis of Rita asserts that her actions are the most genuine of the first portion of the film, since she has no memory and nothing to use as a frame of reference for how to behave.^[30] Todd McGowan, however, author of a book on themes in Lynch's films, states that the first portion of Mulhollend-disk can be construed as Rita's fantasy, until Diane Selwyn is revealed; Betty is the object that overcomes Rita's anxiety about her loss of identity.^[63] According to film historian Steven Dillon, Diane transitions a former roommate into Rita: following a tense scene where the roommate collects her remaining belongings, Rita appears in the apartment, smiling at Diane.^[43]

Harring as the dark-haired woman

Gilda poster (1946)

The dark-haired woman assumes the name "Rita" after seeing the name on a poster. Her search for her identity has been interpreted by film scholars as representing the audience's desire to make sense of the film.

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".^[36] Immediately they return to Betty's aunt's apartment where Rita dons a blonde wig—ostensibly to disguise herself—but making her look remarkably like Betty. 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.m., that eventually leads to the total domination by Camilla.^[41]

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.^[37] For Steven Dillon, the plot of the film "makes Rita the perfect empty vessel for Diane's fantasies", but because Rita is only a "blank cover girl" Diane has "invested herself in emptiness", which leads her to depression and apparently to suicide.^[64] Hence, Diane is the personification of dissatisfaction, painfully illustrated when she is unable to climax while masturbating, in a scene that indicates "through blurred, jerky, point of view shots of the stony wall—not only her tears and humiliation but the disintegration of her fantasy and her growing desire for revenge".^[34] One analysis of Diane suggests her devotion to Camilla is based on a manifestation of narsisizm, as Camilla embodies everything Diane wants and wants to be.^[65] Although she is portrayed as weak and the ultimate loser, for Jeff Johnson, author of a book about morality in Lynch films, Diane is the only character in the second portion of the film whose moral code remains intact. She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry".^[66] Her guilt and regret are evident in her suicide, and in the clues that surface in the first portion of the film. 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.^[67]

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,^[68] 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",^[31] 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".^[52] Immediately after telling Diane that she drives her wild, Camilla tells her they must end their affair. 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.^[69]

Adam Kesher (Justin Theroux) is established in the first portion of the film as a "vaguely arrogant",^[70] 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.'"^[17] After being stripped of creative control of his film, he is cuckleded by the pool cleaner (played by Billi Rey Kir ), and thrown out of his own opulent house above Hollywood. 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.^[71] One analysis of Adam's character contends that because he capitulated and chose Camilla Rhodes for his film, that is the end of Betty's cheerfulness and ability to help Rita, placing the blame for her tragedy on the representatives of studio power.^[41] Another analysis suggests that "Adam Kesher does not have the control, he wants and is willing to step over who or what is necessary to consolidate his career. Hungry for power, he uses the appearance of love or seduction only as one more tool. Love for power justifies that everything else is forgotten, be it pride, love or any other consideration. There are no regrets, it is Mulholland Drive in Los Angeles."^[72]

Minor characters include The Cowboy (Monty Montgomery), the Castigliani Brothers (Dan Hedaya and Angelo Badalamenti) and Mr. 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,^[65][73] 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".^[57] Ann Miller portrays Coco, the landlady who welcomes Betty to her wonderful new apartment. 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.^[65]

Uslub

Dwarf actor Maykl J. Anderson, as Mr. Roque, was fitted with oversized prosthetic limbs to give him the appearance of an abnormally small head.

The filmmaking style of David Lynch has been written about extensively using descriptions like "ultraweird",^[47] "qorong'i"^[41] and "oddball".^[74] Todd McGowan writes, "One cannot watch a Lynch film the way one watches a standard Hollywood film noir nor in the way that one watches most radical films."^[75] Through Lynch's juxtaposition of cliché and surreal, nightmares and fantasies, nonlinear story lines, camera work, sound and lighting, he presents a film that challenges viewers to suspend belief of what they are experiencing.^[40] Many of the characters in Mulhollend-disk are archetypes that can only be perceived as cliché: the new Hollywood hopeful, the femme fatale, the maverick director and shady powerbrokers that Lynch never seems to explore fully.^[52] Lynch places these often hackneyed characters in dire situations, creating dream-like qualities. 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."^[30]

David Lynch uses various methods of deception in Mulhollend-disk. A shadowy figure named Mr. Roque, who seems to control film studios, is portrayed by mitti aktyor Maykl J. Anderson (shuningdek, dan Twin Peaks ). Anderson, who has only two lines and is seated in an enormous wooden wheelchair, was fitted with oversized foam protez arms and legs in order to portray his head as abnormally small.^[76] During Adam and Camilla's party, Diane watches Camilla (played by Harring) with Adam on one arm, lean over and deeply kiss the same woman who appeared as Camilla (Melissa George) before the blue box was opened. Both then turn and smile pointedly at Diane. Film critic Franklin Ridgway writes that the depiction of such a deliberate "cruel and manipulyativ " 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.^[65] In a scene immediately after Betty's audition, the film cuts to a woman singing without apparent accompaniment, but as the camera pulls backwards, the audience sees that it is a recording studio. 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."^[65]

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".^[77] Andrew Hageman similarly notes that the camera work in the film "renders a very disturbing sense of place and presence", such as the scene in Winkie's where the "camera floats irregularly during the shot-reverse shot dialogue" by which the "spectator becomes aware that a set of normally objective shots have become disturbingly subjective".^[35] Scholar Curt Hersey recognizes several avangard techniques used in the film including lack of transitions, abrupt transitions, motion speed, nontraditional camera movement, kompyuter tomonidan yaratilgan tasvirlar, nondiegetic images, nonlinear narration va interstekstuallik.^[78]

An emotionally troubled Diane exchanges words with Camilla. Diane's scenes were characterized by different lighting to symbolize her physical and spiritual impoverishment.

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.^[30][79] The later part of the film that represents reality to many viewers, however, exhibits a marked change in cinematic effect that gives it a quality just as surreal as the first part. Diane's scenes feature choppier editing and dirtier lighting that symbolize her physical and spiritual impoverishment,^[41] 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.^[80] Lynch moves between scenes in the first portion of the film by using panoramic shots of the mountains, palm trees and buildings in Los Angeles. 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.^[34] Similarly, Hageman has identified the early scene at Winkie's as "extremely uncanny", because it is a scene where the "boundaries separating physical reality from the imaginary realities of the unconscious disintegrate".^[35] Author Valtteri Kokko has identified three groups of "uncanny metaphors"; The doppelgänger of multiple characters played by the same actors, dreams and an everyday object—primarily the blue box—that initiates Rita's disappearance and Diane's real life.^[81]

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."^[11] In the opening scene of the film, as the dark-haired woman stumbles off Mulholland Drive, silently it suggests she is clumsy. 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.^[70] Lynch also infused subtle rumblings throughout portions of the film that reviewers noted added unsettling and creepy effects.^[82] Hageman also identifies "perpetual and uncanny ambient sound", and places a particular emphasis on the scene where the man collapses behind Winkie's as normal sound is drowned out by a buzzing roar, noting that the noise "creates a dissonance and suspense that draws in the spectator as detective to place the sound and reestablish order".^[35] Mulhollend-disk's ending with the woman at Club Silencio whispering is an example of Lynch's aural deception and surreality, according to Ruth Perlmutter, who writes, "The acting, the dreams, the search for identity, the fears and terrors of the undefined self are over when the film is over, and therefore, there is only silence and enigma."^[32]

Soundtrack

Ning soundtrack Mulhollend-disk tomonidan nazorat qilingan Anjelo Badalamenti, who collaborated on previous Lynch projects Moviy baxmal va Twin Peaks.^[84] Badalamenti, who was nominated for awards from the Amerika kino instituti (AFI) and the Britaniya kino va televizion san'at akademiyasi (BAFTA) for his work on the film,^[85][86] also has a cameo as an espresso aficionado and mobster.

Reviewers note that Badalamenti's ominous score, described as his "darkest yet",^[87] contributes to the sense of mystery as the film opens on the dark-haired woman's limousine,^[88] that contrasts with the bright, hopeful tones of Betty's first arrival in Los Angeles,^[84] with the score "acting as an emotional guide for the viewer".^[87] Film music journalist Daniel Schweiger remarks that Badalamenti's contribution to the score alternates from the "nearly motionless string dread to noir jazz and audio teskari aloqa ", with "the rhythms building to an explosion of infinite darkness."^[89] Badalamenti described a particular technique of sound design applied to the film, by which he would provide Lynch with multiple ten- to twelve-minute tracks at slow tempo, that they called "firewood",^[89] from which Lynch "would take fragments and experiment with them resulting in a lot of film's eerie soundscapes."^[87]

Lynch uses two pop songs from the 1960s directly after one another, playing as two actresses are auditioning by lablarni sinxronlash ularni. According to an analyst of music used in Lynch films, Lynch's female characters are often unable to communicate through normal channels and are reduced to lip-synching or being otherwise stifled.^[90] Konni Stivens ' "Sixteen Reasons " is the song being sung while the camera pans backwards to reveal several illusions, and Linda Skott ning versiyasi "Men "Ev'ry Little Star" ni aytdim " is the audition for the first Camilla Rhodes, that film scholar Eric Gans considers a song of empowerment for Betty.^[91] Dastlab yozgan Jerom Kern as a duet, sung by Linda Scott in this rendition by herself, Gans suggests it takes on a homosexual overtone in Mulhollend-disk.^[91] Unlike "Sixteen Reasons", however, portions of "I've Told Ev'ry Little Star" are distorted to suggest "a sonic split-identity" for Camilla.^[90] When the song plays, Betty has just entered the sound stage where Adam is auditioning actresses for his film, and she sees Adam, locks eyes with him and abruptly flees after Adam has declared "This is the girl" about Camilla, thereby avoiding his inevitable rejection.

At the hinge of the film is a scene in an unusual late night theater called Club Silencio where a performer announces "No hay banda (there is no band) ... but yet we hear a band", variated between English, Spanish and French. Described as "the most original and stunning sequence in an original and stunning film",^[41] Rebeka Del Rio ispancha kapella "ning ijro etilishiYig'lamoq ", named "Llorando", is praised as "show-stopping ... except that there's no show to stop" in the sparsely attended Club Silencio.^[57] Lynch wanted to use Roy Orbison 's version of "Crying" in Moviy baxmal, but changed his mind when he heard Orbison's "Orzularda ".^[8] Del Rio, who popularized the Spanish version and who received her first recording contract on the basis of the song, stated that Lynch flew to Neshvill where she was living, and she sang the song for him once and did not know he was recording her. Lynch wrote a part for her in the film and used the version she sang for him in Nashville.^[92] The song tragically serenades the lovers Betty and Rita, who sit spellbound and weeping, moments before their relationship disappears and is replaced by Diane and Camilla's dysfunction. According to one film scholar, the song and the entire theater scene marks the disintegration of Betty's and Rita's personalities, as well as their relationship.^[41] With the use of multiple languages and a song to portray such primal emotions, one film analyst states that Lynch exhibits his distrust of intellectual discourse and chooses to make sense through images and sounds.^[30] The disorienting effect of the music playing although del Rio is no longer there is described as "the musical version of Magritte rasm Ceci n'est pas une quvur ".^[93]

Chiqarish

Mulhollend-disk premyerasi 2001 yil Kann kinofestivali in May to major critical acclaim. Lynch was awarded the Best Director prize at the festival, sharing it with co-winner Joel Coen uchun U erda bo'lmagan odam.^[94] It drew positive reviews from many critics and some of the strongest audience reactions of Lynch's career.

Teatr kassasi

Universal rasmlar ozod qilindi Mulhollend-disk theatrically in 66 theaters in the United States on October 12, 2001, grossing $587,591 over its opening weekend. It eventually expanded to its widest release of 247 theaters, ultimately grossing $7,220,243 at the U.S. box office. TVA filmlari released the film theatrically in Canada on October 26, 2001. In other territories outside the United States, the film grossed $12,892,096 for a worldwide total of $20,112,339.^[5]

Qabul qilish va meros

Chiqarilganidan beri, Mulhollend-disk has received "both some of the harshest epithets and some of the most lavish praise in recent cinematic history".^[95] Yoqilgan ko'rib chiquvchi agregator veb-sayt Rotten Tomatoes, the film has an approval rating of 83% based on 180 reviews, with an average rating of 7.62/10. The website's critical consensus reads, "David Lynch's dreamlike and mysterious Mulhollend-disk is a twisty neo-noir with an unconventional structure that features a mesmerizing performance from Naomi Watts as a woman on the dark fringes of Hollywood."^[96] Yoqilgan Metakritik, which assigns a normalized rating to reviews, the film has a weighted average score of 85 out of 100 based on 35 critics, indicating "universal acclaim".^[97]

Rojer Ebert ning Chikago Sun-Times, who had previously been dismissive of Lynch's work, awarded the film four stars and said, "David Lynch has been working toward Mulhollend-disk all of his career, and now that he's arrived there I forgive him for Yurakda yovvoyi va hatto Yo'qotilgan magistral ... the movie is a surrealist dreamscape in the form of a Hollywood film noir, and the less sense it makes, the more we can't stop watching it".^[58] Ebert subsequently added Mulhollend-disk to his "Great Films" list.^[98] Yilda The New York Times, Stephen Holden wrote that the film "ranks alongside Fellini "s 8½ va boshqalar avtorist fantasias as a monumental self-reflection" and added: "Looked at lightly, it is the grandest and silliest cinematic carnival to come along in quite some time ... on a more serious level, its investigation into the power of movies pierces a void from which you can hear the screams of a ravenous demon whose appetites can never be slaked."^[37] Edvard Gutmann San-Fransisko xronikasi called it "exhilarating ... for its dreamlike images and fierce, frequently reckless imagination" and added, "there's a mesmerizing quality to its languid pace, its sense of foreboding and its lost-in-time atmosphere ... it holds us, spellbound and amused, for all of its loony and luscious, exasperating 146 minutes [and] proves that Lynch is in solid form—and still an expert at pricking our nerves".^[99]

Yilda Rolling Stone, Piter Travers kuzatilgan "Mulhollend-disk makes movies feel alive again. This sinful pleasure is a fresh triumph for Lynch, and one of the best films of a sorry-ass year. For visionary daring, swooning eroticism and colors that pop like a whore's lip gloss, there's nothing like this baby anywhere."^[100] J. Hoberman of Qishloq ovozi stated, "This voluptuous phantasmagoria ... is certainly Lynch's strongest movie since Moviy baxmal va ehtimol Eraserhead. The very things that failed him in the bad-boy rockabilly debacle of Yo'qotilgan magistral—the atmosphere of free-floating menace, pointless transmigration of souls, provocatively dropped plot stitches, gimcrack alternate universes—are here brilliantly rehabilitated."^[38] A. O. Skott ning The New York Times wrote that, while some might consider the plot an "offense against narrative order", the film is "an intoxicating liberation from sense, with moments of feeling all the more powerful for seeming to emerge from the murky night world of the unconscious".^[101]

Mulhollend-disk uning kamsituvchilaridan xoli emas edi. Reks Rid ning Nyu-York kuzatuvchisi said that it was the worst film he had seen in 2001, calling it "a load of moronic and incoherent garbage".^[102] Yilda Nyu York, Peter Rainer observed, "Although I like it more than some of his other dreamtime freakfests, it's still a pretty moribund ride ... Lynch needs to renew himself with an influx of the deep feeling he has for people, for outcasts, and lay off the cretins and hobgoblins and zombies for a while."^[103] Yilda Washington Post, Desson Howe called it "an extended mood opera, if you want to put an arty label on incoherence".^[104] Todd Makkarti ning Turli xillik found much to praise—"Lynch cranks up the levels of bizarre humor, dramatic incident and genuine mystery with a succession of memorable scenes, some of which rank with his best"—but also noted, "the film jumps off the solid ground of relative narrative coherence into Lynchian fantasyland ... for the final 45 minutes, Lynch is in mind-twisting mode that presents a form of alternate reality with no apparent meaning or logical connection to what came before. Although such tactics are familiar from Twin Peaks and elsewhere, the sudden switcheroo to head games is disappointing because, up to this point, Lynch had so wonderfully succeeded in creating genuine involvement."^[79] Jeyms Berardinelli also criticized it, saying: "Lynch cheats his audience, pulling the rug out from under us. He throws everything into the mix with the lone goal of confusing us. Nothing makes any sense because it's not supposed to make any sense. There's no purpose or logic to events. Lynch is playing a big practical joke on us."^[105] Kino nazariyotchisi Rey Karni notes, "You wouldn't need all the emotional back-flips and narrative trap doors if you had anything to say. You wouldn't need doppelgangers and shadow-figures if your characters had souls."^[106]

Keyinchalik, Mulhollend-disk was named the best film of the decade by the Los-Anjeles kino tanqidchilari assotsiatsiyasi,^[107] Cahiers du cinéma,^[108] IndieWire,^[109] Eğimli jurnali,^[110] Orqaga otish,^[111] Qishloq ovozi^[112] va Nyu-Yorkdagi vaqt, who asked rhetorically in a reference to the 11 sentyabr hujumlari, "Can there be another movie that speaks as resonantly—if unwittingly—to the awful moment that marked our decade? ... Mulhollend-disk is the monster behind the diner; it's the self-delusional dream turned into nightmare."^[113] It was also voted best of the decade in a Film izohi poll of international "critics, programmers, academics, filmmakers and others",^[114] and by the magazine's readers.^[115] It appeared on lists among the ten best films of the decade, coming in third according to Guardian,^[116] Rolling Stone critic Peter Travers,^[117] the Canadian Press,^[118] Gollivudga kirish tanqidchi Scott Mantz,^[119] and eighth on critic Maykl Fillips "ro'yxati.^[120] In 2010 it was named the second best arthouse filmi har doim Guardian.^[121] The film was voted as the 11th best film set in Los Angeles in the last 25 years by a group of Los Anjeles Tayms writers and editors with the primary criterion of communicating an inherent truth about the L.A. experience.^[122] Imperiya jurnal joylashtirilgan Mulhollend-disk at number 391 on their list of the five hundred greatest films ever.^[123] It has also been ranked number 38 on the 4-kanal dastur 50 Films to See Before You Die.^[124] In 2011, online magazine Slate nomlangan Mulhollend-disk in its piece on "New Classics" as the most enduring film since 2000.^[125]

In Britaniya kino instituti 2012 yil Sight & Sound so'rovnoma, Mulhollend-disk was ranked the 28th greatest film ever made.^[126][127] Having received 40 critics' votes, it is one of only two films from the 21st century to be included in the list, along with 2000's Sevgi uchun kayfiyatda. 2015 yilda BBC poll, it was ranked 21st among all American films.^[128] Keyingi yil, Mulhollend-disk deb nomlangan greatest film of the 21st century tomonidan o'tkazilgan so'rovnomada BBC madaniyati.^[129]

Uy ommaviy axborot vositalari

Film ozod etildi VHS va DVD by Universal Studios Home Video on April 9, 2002,^[130] in the United States and Canada, with few special features. It was released without chapter stops, a feature that Lynch objects to on the grounds that it "demystifies" the film.^[131] In spite of Lynch's concerns, the DVD release included a cover insert that provided "David Lynch's 10 Clues to Unlocking This Thriller", although one DVD reviewer noted that the clues may be "big obnoxious qizil seld ".^[82] Nick Coccellato of Eccentric Cinema gave the film a rating of nine out of ten and the DVD release an eight out of ten, saying that the lack of special features "only adds to the mystery the film itself possesses, in abundance".^[132] Special features in later versions and overseas versions of the DVD include a Lynch interview at the Cannes Film Festival and highlights of the debut of the film at Cannes.

Uyda eng yaxshi o'yin-kulgi ozod qilindi Mulhollend-disk uchun Evropa bozori kuni Blu ray as part of its StudioCanal Collection on September 13, 2010.^[133] New special features exclusive to this release include: an introduction by Thierry Jousse; In the Blue Box, a retrospective documentary featuring directors and critics; two making-of documentaries: On the Road to Mulholland Drive va Back to Mulholland Drive, and several interviews with people involved in making the film.^[134] It is the second David Lynch film in this line of Blu-rays after Fil odam.^[135]

2015 yil 15-iyulda, Criterion to'plami chiqarilishini e'lon qildi Mulhollend-disk, newly restored through a 4K digital transfer, on DVD and Blu-ray on October 27, 2015, both of which include new interviews with the film's crew and the 2005 edition of Chris Rodley's book Lynch haqida Lynch, along with the original trailer and other extras.^[136][137] It was Lynch's second film to receive a Criterion Collection release on DVD and Blu-ray, following Eraserhead which was released in September 2014.^[138]

Mukofotlar va sharaflar

Linch nomzodi ko'rsatildi Akademiya mukofoti uchun Eng yaxshi rejissyor film uchun.^[139] Dan Gollivud chet el matbuoti, the film received four Oltin globus nominations, including Best Picture (Drama), Best Director and Best Screenplay.^[140] It was named Best Picture by the Nyu-York kinoshunoslari to'garagi da 2001 yil Nyu-York kinoshunoslari doiralari mukofotlari va Onlayn film tanqidchilari jamiyati.

Shuningdek qarang

• Miniatyura odamlari ishtirokidagi filmlar ro'yxati

Adabiyotlar

Bibliografiya

• Dillon, Stiven (2006). Solaris effekti: zamonaviy Amerika filmidagi san'at va san'at. Texas universiteti matbuoti. ISBN  978-0-292-71345-1.
• Filippo, Mariya San (2013). B so'zi: zamonaviy kino va televideniyedagi ikki jinslilik. Indiana universiteti matbuoti. ISBN  978-0-253-00892-3.
• Jonson, Jeff (2004). Minbarda buzuqlik: Devid Linchning asarlaridagi axloq. McFarland & Company. ISBN  978-0-7864-1753-7.
• Makgovan, Todd (2007). Mumkin bo'lmagan Devid Linch. Kolumbiya universiteti matbuoti. ISBN  978-0-231-13955-7.
• Odel, Kolin; Le Blan, Mishel (2007). Devid Linch. Kamera kitoblari. ISBN  978-1-84243-225-9.
• Shin, Erika; Devison, A., nashr. (2004). Devid Linchning kinoteatri: Amerika orzulari, Nightmare Views. Wallflower Press. ISBN  978-1-903364-85-7.
• Vuds, Pol, ed. (2000). Weirdsville AQSh: Devid Linchning obsesif olami. Plexus Publishing. ISBN  978-0-85965-291-9.

Tashqi havolalar

• Mulhollend-disk LynchNet.com saytida - intervyular, press-to'plam, film kliplari mavjud
• Mulhollend-disk da Tanqidchilar yig'ilishadi
• Mulhollend-disk kuni IMDb
• Mulhollend-disk da AllMovie
• Mulhollend-disk da Box Office Mojo
• Mulhollend-disk da Metakritik
• Mulhollend-disk da Rotten Tomatoes
• Yo'qotilgan Mulhollend-disk - keng qamrovli tahlil va resurs markazi
• "Devid Linchning 10 ta maslahatini ochish". Arxivlandi asl nusxasi 2007 yil 26 yanvarda. Olingan 1 fevral, 2005. - DVD ichida topilgan [arxivlangan havola; asl o'lik]
• Devid Linchning "Mulholland Drayv" dagi intervyusi