1.  Club Silencio - absolutely spellbinding and fooled me the first time I saw it when Rebekah Del Rio passed out.  Beautiful.

2.  Betty and Rita "love" scene - obviously hot but also very emotionally moving.

3.  Dan and Herb at diner/ behind Winkie's - this scene scared me so bad in the theater when I saw it, I couldn't even look up at the screen when the camera began to move behind the wall behind Winkie's.  Tension off the charts.  Didn't realize until now that a woman played the role of the bum, because they refer to "him" in the film.

4.  Every Little Star while Adam looks at Betty.

5.  Adam meets the Cowboy.

"Harry, I'm going to let you in on a little secret. Every day, once a day, give yourself a present. Don't plan it, don't wait for it, just let it happen. Could be a new shirt at the men's store, a catnap in your office chair, or two cups of good, hot, black coffee. Like this."  -Dale Cooper

"Harry, I'm going to let you in on a little secret. Every day, once a day, give yourself a present. Don't plan it, don't wait for it, just let it happen. Could be a new shirt at the men's store, a catnap in your office chair, or two cups of good, hot, black coffee. Like this."  -Dale Cooper

Haha...reminds me of a saying we have - 'I'd eat chips outta her knickers'

More of a Naomi Watts man myself...

"Harry, I'm going to let you in on a little secret. Every day, once a day, give yourself a present. Don't plan it, don't wait for it, just let it happen. Could be a new shirt at the men's store, a catnap in your office chair, or two cups of good, hot, black coffee. Like this."  -Dale Cooper

Win win indeed.

My top two are Nicole Kidman and Naomi Watts. I prefer slim and delicate to curvy voluptous (sp?) women. I think the scene in eyes wide shut when Nicole Kidman is tipsy and flirting with the old Hungarian guy is the point when I actually fell in love with her. Naomi and Nicole are good friends too, I reckon the 3 of us would work well together. Naked.

I think there was a director (Sydney Pollack?) who once defined a good movie as: three good scenes, no bad scenes. Mulholland Drive has dozens of great scenes, one after another, and no bad ones.

I understand why non-Lynch fans would dislike Mulholland Drive, but I'm always puzzled by Lynch-fans who hate the movie, and yet love a depressing and distasteful mess like Inland Empire or Wild at Heart. To me, Mulholland Drive is the only movie in Lynch's career that is truly and completely successful. There are a lot of Lynch movies I admire for their technical or artistical qualities (Lost Highway, Blue Velvet), but none that I love so much as Mulholland Drive.

Anyway, favourite scenes in no particular order:

* "Llorando"
* Kesher meeting the Cowboy
* The hitman botching the assassination
* The creepy audition
* Betty and Rita's discovery of the corpse
* Diane's suicide
* The espresso scene

Don't forget the tartare sauce (for dipping).

Yes, I did go there.

On the audition scenes: A teacher of mine who tries to show MD is every class always shows the audition scene. He thinks the performances are really subtle and amazing. That's actually my least favorite scene. I know the point is supposed to be that Diane imagines herself as this dynamic talent who misses out because of the mob takeover, but it doesn't really mean that much on first viewing up til that point in the film.

On Laura Harrings rack: I took my then-bf to see MD in the theater and grabbed his crotch to see the effect Laura dropping her robe had on him. It worked (the scene, not the groping.) After the movie he said it wasn't so much her physique as much as it was "as if you weren't supposed to be watching." Generally not an insightful guy, I was pretty proud of him for catching that.

My most recent ex thinks the best part of the film is Naomi "punching herself in the box," as he put it. It cracks him up.

I think the scene concerns more than Diane fantasizing about a stellar audition. The entire dream sequence is not just about her missing out on the role either. That's just a coat hanger plot for Diane to come to terms with deeper wounds and regrets. If you notice, there is a strong undercurrent of sexual abuse running through Mulholland Drive (through all of Lynch's work, arguably). The audition scene is an integral part of this.

For me the scene works on at least three levels, the most technical being that it is simply a great performance by Naomi Watts. Compare her (faux) cheesy reading of the same scene with Rita, to the one she delivers with Woody Katz...

The other two levels concern the plot: the first you've mentioned: the real Diane may have lost the role due to lack of talent. Rather than facing this reality in her dream sequence, she imagines herself to be a phenomenal actress, who ultimately missed out on the role due to mob interference.

The other plot level concerns the undercurrent of abuse. I don't know about you, but I always thought there was something inherently creepy about the whole audition, especially the way the much older Woody Katz behaved towards Betty. Perhaps Diane is reliving one of many sleazy auditions she endured as a struggling actress. Perhaps the scene is about a family member having abused her. By enacting the memory in this way, she can relive painful memories through the distancing device of "performance" (isn't that what all drama does?).

So yeah, I think the scene probably says a lot about Diane, and contributes heavily to the thread of abuse.

I don't know. I think a movie should work at least on an emotional level. I don't have to "get" every intricacy of the plot to enjoy the movie. In fact I like a little mystery left hanging in the air. This was absolutely the case with Mulholland Drive for me. Later, when I learned more about the structure and meaning behind the story, it made me "admire" the movie more, but didn't significantly increase the power of its best scenes for me.

Even if someone offered me a really good explanation for Wild at Heart or Inland Empire, I doubt I'd "like" the movie better. This actually happened to me with Barry Lyndon and Eyes Wide Shut, both which I enjoyed "up and to a certain level", but decided to revisit after reading a lot of interesting analysis. This didn't change my emotional reactions. I still liked and disliked the same scenes, and my overall assessment stayed the same. That's the problem (for me at least) with a lot of Lynch projects: they're undeniably works of art, and yet often fail to be good movies. They're always interesting to talk about, analyse and pick apart, but at the end of the day, you can't force these theories on your emotions.

My gut reaction to Wild at Heart and Inland Empire was one of disgust. I went to see IE in theatre with high expectations following Mulholland Drive, but the movie left me feeling sad and depressed.

(I'm not arguing against you in particular here Booth, just making a general statement of opinion on the works of Lynch.)

"Harry, I'm going to let you in on a little secret. Every day, once a day, give yourself a present. Don't plan it, don't wait for it, just let it happen. Could be a new shirt at the men's store, a catnap in your office chair, or two cups of good, hot, black coffee. Like this."  -Dale Cooper

My only complaint with that film is Nic Cage's goofy singing, including the happy ending (that's not true to the book).

The movie just left a bad aftertaste in my mouth. It's difficult to put into words exactly but I was put off by the characters, the dialogue, the locations, the violence, the sex,... It all felt so garish, and degraded. Diane Ladd's hysterical performance also didn't help.

These weren't the kind of people I wanted to spend two hours with.

I think you're right...(much like TP/FWWM) I think 'Diane' has been the subject of abuse, probably while growing up...this could connect to the sinister 'elderly couple' motif seen in the movie.  Strange how only 'Aunts' and this couple seem to only figure in her pre-Hollywood life...there is no mention of any parents etc, somewhat surprising...don't you think? (suggestive of being an Orphan perhaps...just like in all those Disney movies eh?)  Parents, Grandparents...Guardians who knows, but I think they're very significant in the great scheme of things?

Ooh is that Laura Palmer/Sheryl Lee inside 'Club Silencio'...she is no doubt a member!?

I've often compared the scene of Laura/Ronette (TP) being chased by Leland in the closing scenes of FWWM & this old couple seemingly chasing Diane to her suicide...at the end of this movie.  The fact that these 2 characters emerge from the Winkie monsters 'blue box' (repressed memories/silencio in microcosm, see below) also seems very significant...In fact, it's when Diane is sitting contemplating on the sofa (moments before death) with her 'mind's eye' that she hears 'maniacal' laughter (mainly it seems from the male/old man) and her own remembered screams can also be concurrently heard...which to me is very much suggestive of a previous 'parent/guardian' abuse scenario...and the 'old couple' seem to be the ones who fit the bill.  The 'old couple' book-end the movie rather effectively...from start to finish, Jitterbug to suicide and I don't think that these characters should be overlooked or seen as merely superficial.

Remember that the 'old folk' emerge from the 'bums' paper bag containing the blue box...would this be the same brown paper bag that Jefferey in BV put the 'severed ear'.

Blue Box as Club Silencio in microcosm.

Silencio Entrance and steps to the stage...a kind of mini Theatre in a box.

The Blue Box...(viewed like a stage without microphone)...insert the key with box opened out (closed key would protroud into the box's inside...lock & key sexual symbology, if you're that way inclined) and you've got the microphone aspect.

Inside Silencio with its 'red room' curtains and microphone...Betty unable to face the truth (the murder & her past abuse) about the box vanishes and then Rita/Camilla opens the box (inserts the key/microphone) and the illusion of her existence (inside the dream) is gone...NO HAY BANDA, THERE IS NO BAND 'It is all an illusion'...IOW's Diane's dream is over and you have to face the reality that you really have killed Camilla/past abuse etc...this reality may differ considerably from what she expected. (You just know that Diane still aches for the lover she murdered, naturally...but jealousy/betrayal are powerful emotions and ones that have seemingly eaten her up.  I find the bungling hitman aspect to be more about her wishing that it had gone wrong in reality, something that she could only experience thru the dream. The very first aspect of her dream is that Camilla somehow survives the murder attempt, through the vehicle accident...and that is what clinches the deal for me...if only Diane could turn back the clock!)

 How the images relate to Diane's suicide. (note bedpost)

 "Crying Over You"...yes, at least...we should be Diane, after all you've been subjected to or is it 'she' who is 'crying' over what it has led her to do...murdering the woman that she obviously did love?!

Now factor in the Reni painting that hangs so prominently in Ruth Elms/Betty's aparment...Beatrice Cenci.

According to the legend, Francesco Cenci abused his wife and his sons, and had reached the point of committing incest with Beatrice. He had been jailed for other crimes, but thanks to the leniency with which the nobles were treated, he had been freed early. Beatrice had tried to inform the authorities about the frequent mistreatments, but nothing had happened, although everybody in Rome knew what kind of person her father was.

After an intial failed 'hit' / 'murder attempt' (the hit man etc) Beatrice, her siblings and step mother bludgeoned Francesco to death with a hammer and threw the body off a balcony to make it look like an accident. No one believed the death to be an accident.
 

There was supposedly an accident on Mulholland Drive...although we do learn (eventually) that it was no accident...a nice tie-in.

There are even reference points to 911 within this movie...from Cenci's death and William Mulholland's birth...but I'm not getting into that here.

Anyway...this when coupled with the 'audition scene' at Paramount (of paramount importance)...suggest that this (abuse) aspect is crucial to the story of the real Diane and perhaps to the 'silencio' (silence) of sexual abuse and its victims.  (Sarah Palmer would know something of this, I'm sure) Notice during the scene that there is a definite ambiguity, a sort of attraction/repulsion aspect going on concurrently...we saw something similar in TPFWWM with the Bob/Leland rape scene.  The attraction/repulsion associated with the continuing guilt, which can lead to the incestuous abuse being eventually somewhat 'consensual' and even 'enjoyable' to some degree (as warped as that sounds).  Also bear in mind that this type of bonding can assist the abused in terms of their own safety and survival. (If you're looking for back-up evidence of this type of thing...then I suggest you look into the 'Stockholm Syndrome' etc.)  Laura Palmer finally discovers 'consciously' that (in part) her own Father is abusing her...she was dead inside 24hrs of this revelation, her subsequent post-behaviour (to the revelation) no doubt having a huge bearing (Bob aside).

Obviously there are other aspects to this scene that relate to reality...Camilla & Diane competing for the lead in TSNS for instance, but I'm not examining that here.

So could the 'audition' scene's main male protaganist 'Chuck'/'Woody' be an 'avatar' for previous parental/guardian abuse...well it does, at least seem plausible?

"Dad's best friend goes to work"?

This quote seems to be given in the sense of an 'aside'/'ad lib'. (other quotes are made by Woody in a similar vein, 'tell me where it hurts baby' etc)

Well...to me there is an ambiguity present in this statement also (remember this is a dream logic scene) , does this infer 'Dad's best friend goes to work' in the context of an actual friend taking advantage of someones daughter (as per the script) or does it infer that 'Dad's best friend...' is the one between his legs (his one eyed jack), with which he is literally going to go to work with...in the sexual context of incest?  Also note that this character (Chuck/WoodChuck) is referenced phonectically as 'Woody', perhaps referencing...the getting 'wood' allusion or perhaps even doubling as an amusing dig at some of the acting skills on display?

Yew wood knot believe it!

...there is the oft seen 'lynchian lumber' aspect going on...Woody/Chuck/Elms/Sylvia(forest)/Palm-er,

With all of the above in mind...I'm sure you'd agree that the above image takes on a much more sinister and disturbing feel. Personally, I always found that this image/scene resonated with much discord...that is what I thought upon first viewing and for me one of the movies most disturbing scenes.

This movie is a 'tradegy' of Shakespearian proportions!

Silencio/Silence...'the rest is silence'.

For fun...I also enjoy the 'synchronicity' of Naomi Watts subsequent work in respect of miniturisation.

Oh Top 5 (at the moment) in no particular order: (although the whole movie start to finish is my favourite scene/s)

Finding Diane's body.  (pre cognition to her own death/suicide)

The man behind Winkie's dream sequence. (witness to the 'hit deal' through a mere passing glance and location for the key that confirms...job done)

Diane's return to Mulholland Drive (Camilla's surprise)...and the party scene with Adam/Camilla. (Diane's humiliation that finally probably tipped the balance and led to the desire for revenge/murder etc)

The Ryan Ent' scene with the Castigliane Bros...espresso etc. (a nasty taste in the mouth x2...notice Diane catches his eyes while she sips her after dinner coffee...the things 'girls' have to do to get a movie part)

Pink paint over the 'family jewellery'...Gene Clean. ('genepool'...parent/guardian abuse, innocence lost fused with Kesher's own marital strife..."I got the 'pool' & she got the 'pool guy' line").

OMFG...what a movie.

BTW...sorry I got a bit carried away there, a habit of mine. I don't mean to detract away from the threads original intention, so please forgive me!

1. The whole stealing of the black book-scene and all it's difficulties

2.  Twinkies. The bum

3. A. Badalamenti's character and his espresso

4. The scene at Adam's house- "Now you've done it!" and his following reaction

5.  Don't know but probably something from the very last part of the film.

Thanks for the analysis, BlueFrank!

A lot of it makes sense. I especially like the audition guy representing someone who abused Diane.

bluefrank, you deserve the Slow Clap: *does Slow Clap*

1. The Cowboy. A great scene with great dialogue, and the fact that Lynch can make this dorky little weirdo playing Gene Autry dressup into something genuinely creepy is just a testament to his talent.

2. Club Silencio. I can't top what others have already said about this scene, so I won't try. but I love it.

3.Winkie's and the Man With A dream. This scene is just so perfect. it fits seamlessly into the film as a whole, yet at the same time you could almost lift it right out and have it stand alone as a short two-character play. And the performances are wonderful. (as an aside, after the first few times I saw the movie I actually memorized this whole scene and could recite both sides of the conversation verbatim. Can't do it any more but yeah, I'm that big of a nerd)

4.Adam Kesher's phone conversation with his assistant. I just love that bit for some reason. Adam is so smarmy and sarcastic, even though he's scared out of his wits.

5.Hard to pin down a "scene" for #5, because it's more a series of vignettes after the blue box is opened and we see what Diane is really like. After watching Betty (sunny, sweet, full of hope) it's such a drastic change to the bitter burnout of Diane. So much so that it's hard to believe it's the same actress. Kudos to Naomi Watts!

"What? Did your life pass before your eyes? Cuppa tea, cuppa tea, almost got shagged, cuppa tea..."

1. Every Little Star

2. Betty's audition

3. Rita's journey to Aunt Ruth's

4. Rita and Betty share the bed

5. Betty's arrival at LAX

5. Adam smashing car in anger 4. Adam finding his wife cheating 3. The clumsy hitman 2. Winkies 1. Club Silencio - Llorando (utterly stunning)

5. Adam smashing car in anger 4. Adam finding his wife cheating 3. The clumsy hitman 2. The sex! 1. Club Silencio - Llorando (utterly stunning)

This is a bit off-topic, but I was just reading an interview with Mark Pellogrino who plays the hitman in MD. And he said an interesting thing:

"Was Mulholland Drive going to be less confusing as a television show?
Yeah, the TV show was actually pretty linear, believe it or not. It became the dream, I guess, that it is now, just through the reshoots."

http://nymag.com/daily/entertainment/2010/05/losts_mark_pellegrino_on_what.html

I've never heard that before. I'm not sure whether that makes it more or less likely that there is an overriding "answer" to MD's mysteries...