![]() It’s worthwhile to think about this path to the cinema, because the film narrative’s attention to success and failure and ambition and compromise are also embedded in its unique production history. And yes, there’s a surrogate for Satan, just behind the corner in the rear of a diner.Īs an aborted American television series pilot brought back to life through international funding, Mulholland Drive traded up from the small to the big screen and defied its apparent destiny as an unworkable launching pad for a series. There’s an aspiring actress, Betty (Naomi Watts), an amnesiac bombshell, Rita (Laura Elena Harring), and a mystery about Rita’s memory of an accident and a name, “Diane”, all winding through Betty’s suspiciously ascendant introduction to Los Angeles. The movie unfolds in a series of desires, warnings, and transactions that explore deals made by individuals and institutions, often under duress by unseen malevolent forces or motivation by darkness within. Mulholland Drive is a horror story about choices and consequences in Hollywood. Creation and reception are a continuous process shared between artist and audience.įor a plainspoken summation of Mulholland Drive’s big ideas, Billy Ray’s road sign warning is as good as it gets. Lynch asks us to meditate on images, characters and events that have arisen during his own meditative experiences. For Lynch devotees, however, the deep interactivity that his films invite is part of the appeal. One could argue that, for entertainment purposes, an audience should not have to work so hard to shape a film into coherence. Like many of Lynch’s works, the film asks viewers to bring to it their own conceptions of causality, temporality, morality, and aesthetic sensibility. Mulholland Drive is a film about which there is endless theorizing. Now he seems to approve of his daughter’s celebrity acumen that has kept all eyes on her in the risqué transition to adult stardom. ![]() The theme of doing whatever it takes to gain and sustain attention is present, but value-altered, in more recent interviews with Cyrus. You think, ‘This is a chance to make family entertainment, bring families together…’ and look what it’s turned into.”įilmmaker David Lynch enters into this tale of spiritual warfare because Billy Ray Cyrus appeared in Lynch’s 2001 film, Mulholland Drive (original title, Mulholland Dr.), which expanded the singer’s acting career opportunities as well as those of his daughter, whose fame has now eclipsed her father’s career highs in some ways. There has always been a battle between good and evil. Reflecting on the pivotal Hannah Montana experience in the context of opportunities Hollywood provides, he said he believed his family was being attacked by Satan. ![]() Cyrus did cite both figures in his assessment of a low point in his life and how he had arrived there. To be fair to the media outlets that refashioned a comprehensive interview about a life and career into a sensational headline, Mr. Five years and several Miley media events later, the interview is still remembered as the time Billy Ray blamed Satan and David Lynch for destroying his family. Hannah Montana’s Achy Broken Heart”, but headlines linking to the interview featured the forces to which Cyrus assigned blame for his daughter’s headlong fall into reckless young adulthood. The above quotation appeared in a widely redistributed February 2011 interview with Chris Heath for GQ. He is in fact Billy Ray Cyrus, global superstar country singer of days past and father to present day global superstar Miley Cyrus. The man describing this warning of a lost highway might be right at home in a David Lynch film. He imagines a cautionary road sign for Los Angeles: “‘entering this industry, you are now on the highway to darkness…'” A man sits in a dark room, in a lonely mansion.
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