So why respond – putting it better, why care about this archaic form of theater acting?
What you hear is the sound of a tape being played, it’s said.
#Songs in mulholland drive movie#
Meanwhile, standing still, a few meters away from there, is and old lady who soon will be about to whisper “Silencio”, putting an end to this cautionary tale.īy the first time I got the chance to watch Mulholland Drive and hear those words, it struck a chord on me not only because they sounded a lot like words that could’ve come out of the mouth of a very angry, disenchanted Nihilistic philisopher, but also because its phrasing is the movie itself in a nutshell. “No hay banda”, the presenter warns the people who are awaiting the start of the show. The performance of “Llorando”, a Spanish-language cover of Roy Orbison’s “Crying” Rebekah del Rio released in 1994, might as well be Mulholland Drive’s most cathartic moment, the scene that gives away pretty much every single clue imaginable of what’s going on within a storyline that once was so confusing and now, thanks to an incredibly odd but beautifully performed song, is starting to take the form of a comprehensible but still rather strange tale. By doing so, Lynch prevents his creations from being too one-dimensional. The songs featured in his works – including in this list, of course, Angelo Badalamenti’s Twin Peaks soundtrack – work as much as clues for the mysteries presented in the plot as amplifiers of the emotions expressed by his characters. His idea of a song as a means to impact someone's idea of reality, more exactly – just like he`s always done to the scenes he shoots, music is an essential part of Lynch`s tales of people confronting reality and – pretty much all the time – trying to run away from it. His usage of music and, more specifically, sound to convey deeper meaning to the imagery he’s constantly applying to his vision of cinema, is one of the keys to begin to understand his art. We rarely see in his flicks songs being used in a poor fashion, or just thrown into the narrative without any context or (as we’ve come to know) any purpose whatsoever. It works the same way for the approach Lynch gives to music in his movies. He tears cinema apart so as to rebuild it according to his very unique vision - the old, clichéd yarn of two people pursuing their dreams (with both meanings of the word being applied here, the metaphorical and the more concrete one) in Los Angeles, a city that’s known for being harsh with people’s surrealistic expectations. David Lynch’s Mulholland Drive, his 2001 masterpiece, is said to be a movie about a lot of things: a thesis on the dreamy nature of cinema itself, a sarcastic take on Hollywood stars pursuing fame, and (why not?) the deconstruction of cinema.
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