Rear view

Phil Kay

David Lynch’s Mulholland Drive is about a bathrobe, an ashtray and the power of the mind.

ee this film again. you must. And see it for the

second time first. Watch it. though. unlike a

hawk. As with all films. there are scenes that drag the narrative along and scenes that define what is by articulating the shape of what isn't.

All we have to do is remember that some stuff is the creation of the main character. Diane. Also that the first half of the lilm is her dream of having her partner back. about being a stunning actor in a beautiful apartment and meeting a cleansed Camilla. Dreams pit random situations up to fit our general emotional state.

You may as well see this film because you have lived it. It relates to how we relate to the world sometimes.

.-\s always. David Lynch‘s film concerns a bathrobe and its thickness and who invented it and what it stands for: ultimate texture and richness. It has to be the densest bathrobe in cinema. deeper and darker than blue velvet. flock—velvet. Camilla wears it as Rita in Diane’s dream about their new chance. their new newness again; a world where they are still lovers.

It‘s about an ashtray. In one scene it is there and in another scene we know it has gone. In the dream they ask at her house for Diane’s house. This is triggered by the first ex-lover coming for the ashtray and telling about two detectives.

Diane has lost her love. Camilla. to the fictional director chiefly because of his calm physical assumption and a kiss he went through in a romantic setting that she witnessed. There is pink on his suit for a

John Fardell

You may as well see this film because

while as a mark of the real world from our director.

The way to go is to ruminate on example. on Lynch dreaming up the fictional director as a representation of Diane’s state of mind. Ultimately it comes back to all being from the one author. Your mind can re-create your world.

We can measure ourselves by evaluating our creations. That is why the most hair-raising scene is when they see the woman faint in Silencio and realise again that she was not singing. They seem to realise how much they gave to her. how much they believed their own creation. felt for what they knew deep down was an illusion. Film is illusion. It is illusion free from reality’s guilt. Betty on the waitress‘ badge.

When they feel for her miming they are in Diane's dream. they are creations. In her dream. she is feeling the burn. like lucid regret. of how much she gave to something that wasn't real. And that is us too: feeling for Lynch‘s creations that. in a sense. we create by our reading of the film.

We can feel for Diane that she should put the monster in the alley into her dream; that fear of scaring yourself and the ultimate line that you chose to do this to yourself. In dreams. random events are born to suit the non-random emotional state and its concems.

This film chills me because it replicates an awareness in me of that sensation. that it is only our own minds we have to feel with and if we are upset with them. then it can affect how we see the world in an awesome way.

you have lived it

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