This year, the film "Malkolland Drive" (Mulholland Dr.) marks twenty years. He managed to disassemble and gather again like a Rubik's cube, declare the best film of zero (the main French cinema "Kayeus du Sinema", 2010) and even the best film of the XXI century (according to the survey of the Air Force, 2016). Today, Malkolland Drive seems the most perfect and harmonious creation of David Lynch. His riddles are solved, but this is one of those stories that are reviewing every time as if for the first time. After all, dreams, even filmed on film, never repeated exactly.
It still remains inexplicable. This insoluble precipitate is probably necessary to be called art. And again, explain - to understand without hope - why this simple story is so affected.
As the series became a movie
By calling "Malkolland Drive" the harmonious creation of Lynch, it is not, not to remember the circumstances of his appearance, not foreshadowed harmony. In 1999, Lynch removed the pilot of the TV series for the ABC company, which was to become spin-off (by the side plot line) of the cult "pixel twin" and tell the story of Young Audrey Horn, who went to conquer Hollywood. But the project was stopped by producers and resumed only at the end of 2000 - already on the money of the French company Studiocanal and as a full-length film.Later, Lynch recalled how once at night suddenly saw the whole story at a different angle and realized that "the film always wanted to be like that." This appeared the final part, turning (or clarifying) the events of the series. There Lynch made a riddle riddled, the answer was given on them. In 2001, Malkolland Drive was shown at the Cannes Film Festival and brought the author to the author for the director.
Malkolland Drive can be considered the central link of the "Hollywood trilogy" David Lynch, opened in 1996 "Highway to Nowhere" (Lost Highway) and completed ten years later, "inland Empire). All three paintings unite not only the place of action, but also the logic of plotting, and the incredible concentration of branded Lynchev's motives and techniques.
In Twin Pixes, Audrey Horn played a bright brunette Sherilin Fenn, reminding Hollywood diva of the Golden Age. In Malkolland Drive, her (already under the name Betty) changed the blonde from Australia Naomi Watts with the appearance of Girl Next Door, hiding a grand dramatic talent that did not see the producers of ABC. They were embarrassed by age actresses (Watts was a thirty-year-old, her partner Laura Harring and turned 35 at all). Other reasons for the refusal of further production are tangled plot and dog shit on the asphalt, which Lynch showed a close-up.
By the time of the start of filming in Malkolland Drive, Naomi Watts career in Hollywood was not determined. She was already ignored by casting directors, she was in despair - and before listening to Lynch, driving just on Malkolland Drive, imagined how the wheels will turn and kill, falling down under the slope. According to a strange coincidence in an accident - although a small one - Laura Harring got along the way. Lynch chose both actresses in photographs, but fantasy, cinema and reality were in dangerous intimacy, if you remember that the film began with a night accident at Malkolland Drive - the road passing along the Hollywood Hills Range. As for Watts - the role in the film Lynch made her star.
What tips left Lynch
"Malkolland Drive" can be retelling from the beginning, and it is possible from the final part. Twice the plot, two characters, the fabric of the screen reality itself is separated. The heir to surrealism and romanticism, Lynch always searched for the cover of everyday life, ominous and strange, but the focus "Malkolland Drive" is that here "illusion" and "yawn" are changing in places, a dream is repaired. Or his projection, like - movies.
Among the tips that the viewer offers the director, the first is the Council to pay attention to the stage before the initial titers. This is a huge screen with dancing couples, against the background of which, under the applause, happy Betty appears - Watts - as if the actress on the bonds after the premiere.
On what side of the dream we are, reminds and a blank room with heavy velvet porthers, in the middle of which separated from the viewer with a transparent wall, sends in the giant chair of the shadow rattle of Hollywood Mr. Rock - that very dwarf (actor Michael Jay Anderson) that danced In the Twinpix Black Wigwam.
This is also evidenced by the archetype characters, the walking cliché: naive provincial, Femme Fatale, Director-Buntar, Italian Mafiosi.
In the episode of the business meeting of a successful director (Justin Tera) with a caricature of the harsh Italians, who says the only phrase - "This girl" - and picks up the best espresso in the world in the world, the composer Angelo Badalamerty plays, whose alarming sound-design is one of the mandatory accept Films Lynch.
But it is the first part of the film that looks like a "reality", or rather the genre - that in Hollywood almost the same thing. Luxurious brunette loses memory in a night car accident. Enthusiastic blonde, who has just arrived in Los Angeles, is taken to help her understand who she is so and what happened to her. The fashion director has a conflict with a film. Killer - troubles at work. And in the backyard of the Winkie's eaters settled in the infernal something.
And only the entertainer in the mysterious club "Silencio" explains that all this is just an illusion.
How dreams work
Against the background of the former films, Lynch, Dark and Gloomy, "Malkolland Drive" stands out not only to the ease of intonation and unexpected gags (killer and vacuum cleaner), but also discouraging clarity, with which in the final there is a social reality - the second part commented on the first, without leaving the riddles and doubt. It has some kind of merciless light. But before you understand its nature, we need to switch the border again, retreat to the country of the dream.
The cinema so often compared with dreams that we stopped seeing the essence behind the cliché, the logic that the dream of a dream was always subordinated. Incorrectly, fluid, changeable everything: the plot, interiors and faces, even you yourself, rotating eyeballs under the films of the eyelid, a second later, it is capable of taking another case - like the one who you can't catch up, touch, hit. There is always invariably that between you, a feeling, obsession: You can always identify someone who you are being pursued, who you want to you who you hate. And Lynch's films are arranged this way.
But there is another genre in which the same inexorable rules apply. The Greeks called him a tragedy, and this word is directly related to the film "Malkolland Drive". Everything that should happen is, it happened, happens now and always. This is the merciless light that he sees in front of the death of the heroine - and which makes us wake up in tears.