(And interestingly, in the corresponding scene in Body Double, I don't see a corresponding moment of situational awareness. There's that shot in Vertigo where Scotty and Judy are kissing and the camera revolves around them, and Scotty becomes briefly aware that Things Are Really Fucked Up. Perhaps this is retribution doled out to himself for preying on that dynamic, despite the fact he had a deep connection with Isabella? He was in an on-off relationship with Isabella Rossellini, one of the leads in Blue Velvet. As I rewatch that fleeting moment of anguish, with Diane fleeing toward her tragic destiny, Kesher seems torn between his grief and the notion that he is powerless to save her-or anyone else-from the harsh realities of Hollywood.ĮDIT: I forgot to mention that Kesher could indeed be a reflection of Lynch himself. In my opinion, it's plausible that both Kesher and Diane are merely trapped within a system that exploits them to the fullest. It's not a stretch to conclude that Lynch is suggesting the abuse Kesher experiences serves as a cosmic retribution for directors who treat their actors as expendable, thus fueling the toxic cycle. Maggie Mae Fish's insightful video comparing Lynch and Stanley Kubrick in their treatment of female actors on set is worth a watch. In reality, we glimpse the flipside: a male director who potentially leverages his power and influence to date one of his lead actors while callously discarding a revolving door of naive individuals like Diane. In the dream, Adam Kesher's story symbolizes the suppression of artistic freedom that directors endure (his encounters with mobsters and cowboys). In Mulholland Drive, Lynch criticises the Hollywood system. These cycles manifest in hidden places, such as society's underbelly (Blue Velvet), the privacy of the home (Lost Highway), or both (Twin Peaks: Fire Walk with Me). David Lynch's works often explore the concept that acts of violence or harm perpetuate more suffering in an ongoing cycle. However, I believe this interpretation overlooks a wider context. This realization triggers her guilt, causing her to flee to the dream's final scenes where she confronts the deeper consequences of her actions. One interpretation could be that while Diane's life story and actions are complex, Adam is merely an innocent victim of her jealousy. She is the monster responsible for the death of his fiancée, and all he can do is silently plead with her to change her actions before it’s too late. Her eyes have become an emotionless void, projecting a remorseless glare. The camera cuts back to a closeup of Diane's face, hiding her mouth. Adam appears forlorn and grief-stricken, seemingly on the brink of tears. Revisiting this scene with this knowledge in mind alters the dynamic considerably. This scene is closely followed by the Club Silencio sequence, where Betty/Diane grapples with the horrific betrayal she has committed, and comes to terms with the reality of murdering her beloved. His journey hasn't been smooth thus far, having faced intimidation and threats from meddling executives and crime bosses, forcing him to cast an actor against his wishes. He appears to be on the verge of tears, perhaps feeling regret. The longing look from Adam indicates that he is captivated by her presence and determined gaze, as if he is prepared to cast her as his new lead immediately. Betty has just aced a major audition, gaining momentum as an up-and-coming starlet. Upon first viewing, I believe most audiences experience a similar reaction to my own. The climax unfolds as the director, Adam Kesher, locks eyes with the enigmatic Betty, accompanied by a musical crescendo. One of my favorite scenes in Mulholland Drive has always been this one.
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