MULHOLLAND DRIVE
Mulholland drive challenges the orthodox classical narrative, that is the linear sequence having a beginning middle and an end, by creating a film split in two halves, the first half the audience follows betty’s reality, and the second we are in her dream world. This contrasts against the typical Hollywood narrative that we would normally see in other films, and has confused its audience ever since. The contemporary experimental plot is difficult to understand and has been interpreted differently by many, with audiences trying to figure out where her dreams and realities coincide. One scene in particular that really showcases unusual, atypical aspects of contemporary experimental film is the diner scene. One scene in particular that really showcases the unusual, atypical aspects of contemporary experimental film is the diner scene. Although at first the scene looks like another film, with two characters having a conversation over a table, but as you look further into the scene, each part seems more unusual and foreign. For instance, the costumes, setting and props all appear normal and seem appropriate but the character expression and movement is quite peculiar- Dan is relaying his recurring dream to Herb, he points to a place in the diner where Herb stands in his dream, then later Herb stands in the point, this is where we see the dreams and realities fade in and out; his reality is turning into his recurring nightmare. The camera work is also strange in this scene because the camera is never completely still, it almost sways slowly as though they are in a dream.
In the scene within Mulholland Drive where we are introduced to a cowboy, as an audience we can begin to understand how normal dialogue between two main characters can show how the narrative can begin to become unconventional and challenges the orthodox classical narrative, against the norms of mainstream Hollywood films. The beginning of the scene shows an eerie isolated road during night time, this darkness is only lit by the car that rolls up, as well as a flicking light. This applies to a genre that is recurring within experimental films, this being Mulholland Drive, a psychological thriller and horror are subtly merged to create a narrative that ultimately is not understandable for the audience. The flicking light and the exaggerated the wind motion sound introduces the cowboy, whose monotone pitch is mysterious throughout the entire scene. His costume is outdated, suggesting he is similarly in the same conservative mindset, opposing the costume of the second character who has modern glasses and an outfit and hairstyle that would have been the style in 2001. The dialogue itself is mainly the cowboy asking the other character personal questions and about the future, with one word answers. As the scene begins to end and the cowboy slowly walks away, the flicking light is shown once again as a close up, where it is flicking off, the introduction of the wind is also intensified as he walks away. This could symbolise his supernatural angelic being of existence, which is how it also ties into the dreamlike perception of this entire film, therefore showcasing a narrative that is unorthodox.
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