Depuis quelques jours déjà, un essai rédigé en anglais par Rachael Johnson est disponible sur Lynchland. Il peut être trouvé sur la page d'accueil du site, ou directement en recopiant le lien suivant :
Il s'agit d'un essai intitulé "Desiring women and female degeneration in Mulholland Drive", qui analyse notamment l'importance du surréalisme dans le dernier long métrage de DL.
Comme d'habitude, vos commentaires de lecture sont les bienvenus.
De M E Mazzanti
Now that I've had the time to read it, I can say that IMO it's brilliant, and congratulate the author. Obviously no person will share the exact same views as another, and I'd even argue a very important point of the article about Mulholland Drive being so much more sincere, poetic, and ultimately honest than many others, in its depiction of lesbian love. (And that's not just my opinion but also that of the few lesbians I know with whom I've talked about the film.)
But I think it's precisely when not agreeing with what is said that one can appreciate a very well structured article that makes points in a logical, very respectable fashion. And, despite other comments, I loved the flow of it. It only gets a bit boggled IMO when commenting on the last part of the film, otherwise it's a perfect combination of description and comment, in the way that it doesn't make even the most impatient Lynch fan skip whole descriptive paragraphs - here most of those immediately lead to a interesting and pertinent comment which one quickly realizes is not to be missed. (Instead of the opposite, more usual, "first I'll spend a lot of
pages re-telling the film you know by heart, and then only when you're utterly bored by it will I get to the interesting part.") Same thing for the footnotes, that are used as they should, after all that's what they're for, to consult a source if one's interested, instead of muddling the main text
or just taking the lazy approach of not mentioning sources
And even if, as I said, there are some ideas about Mulholland Drive I don't share, I found both the parts about Surrealism and depictions of lesbian love to be absolutely fascinating, though in this second instance I hadn't read before any serious analyses on the subject so I can't compare.
All in all, I enjoyed the article a lot. Which is saying something since, frankly, I tend not to read this kind of long articles on-line, they tend to leave with a sense of "fake academia" I've mentioned before - and this wasn't the case at all here. So congratulations are in order to all parties implied.
~Henry the Horse~
De Mikko Pihkoluoma
First off, concerning accidents and random acts of violence as surrealist elements, I think there is one director closer to 'Mulholland Drive' than Buñuel, who is known to have used them in this fashion a lot. Jean-Luc Godard's 'Le Mepris', like MD, ends with the word Silencio and has role play and wigs; 'Le Mepris' also has a scene that reminds you a lot of the "There is no band" theater in MD; in addition, Godard's film stars Birgitte Bardot (although I'm not sure whether she shared the same unfortunate destiny of her American colleagues) as Camille, who tragically dies in a car accident.
Godard's first films (i.e. the first era with girls and guns, love...), I would believe many if not most end with random, accidental and/or confusing acts of violence, or at the very least portray one. The ones I've seen all do anyway: A bout de souffle, Vivre sa vie, Bande a part, Pierrot le fou and Le Mepris.
Concerning the incomprehensible woman and wigs, I think Lynch is not only influenced by Bergman's Persona, or Hitchcock, but also Michelangelo Antonioni. (In a Canal + interview done when Lynch headed the jury in Cannes, he mentioned Antonioni, Bergman and Hitchcock as his sources for inspiration.) ...it is also worth noting that Godard was strongly influenced by Antonioni, especially in Le Mepris wig play. Antonioni used the wig (on Gabriele Ferzetti) in L'avventura to play out his personal feelings in relation to his muse Monica Vitti; Godard OTOH masked Bardot with an Anna Karina-esque wig in Le Mepris.
All in all I liked the article. The blue box connection to 'Un Chien Andalou' was intriguing, but I still haven't quite decided if the argument makes that much sense... Some of it was repetitive, but my own command of English is not good enough to advice further detail in how to make it better.
The numerous and sometimes ehaustive quotes, and the extensive plot description bothered me quite a bit so my simple wish is to make it shorter by editing such portions. I understand some of it is important to the arguments, but I felt the quoted and descriptive material could have been less dominant. Please, at least consider skimming the plot descriptions, because those will inevitably bore a Lynch-fan to death.
Lynch is in certain respects paradoxical in his themathics, especially concerning lesbian love and the female perspective. I thought this was a great attempt at synthesis. I loved especially the ending (and could see how the pages before that were setting it up): "Lynch’s transgressive heroine is simultaneously a figure of identification and desire for both men and women. Ultimately, Mulholland Drive reminds us that films are all about desire. This desire is often genuinely revolutionary."
Etant assez jeune(15ans) j'ai un peu de mal avec plusieurs pages d'anglais, est-ce qu'une traduction de l'article est disponible?
De Roland Kermarec
Non, il n'y a pas de traduction de disponible pour cet article. Essayez un site de traduction en ligne même si, je suis le premier à le dire, leurs propositions sont parfois hautement fantaisistes et surréalistes.