Mulholland Drive (film) - Style

Style

The filmmaking style of David Lynch has been written about extensively using descriptions like "ultraweird", "dark" and "oddball". 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." 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. Many of the characters in Mulholland Drive 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. 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 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. 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 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 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."

According to Stephen Dillon, Lynch's use of different camera positions throughout the movie, 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". 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 Winkies 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". Scholar Curt Hersey recognizes several avant-garde techniques used in the film including lack of transitions, abrupt transitions, motion speed, nontraditional camera movement, computer-generated imagery and nondiegetic images and nonlinear narration and intertextuality.

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. 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, 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. Lynch moves between scenes in the first portion of the film 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 Winkies 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. Similarly, Hageman has identified the early scene at the Winkie's as "extremely uncanny", because it is a scene where the "boundaries separating physical reality from the imaginary realities of the unconscious disintegrate". 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.

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." In the opening scene of the film, the dark-haired woman stumbles off Mulholland Drive, silently it suggests she is clumsy. After Lynch added "a hint of the steam and the screaming kids", however, it transformed Laura Elena Harring from clumsy to terrified. Lynch also infused subtle rumblings throughout portions of the film that reviewers noted added unsettling and creepy effects. Hageman also identifies "perpetual and uncanny ambient sound", and places a particular emphasis on the scene where the man collapses behind Winkies 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". Mulholland Drive'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."