![]() ![]() ![]() Mulholland Drive starts off logically but then gradually abandons logical coherence as dream-like (but realistically presented) sequences are brought into the plot. This technique reminds me of Fellini's 8 1/2, where fantasy was often interspersed with a logical and coherent plot. Blue Velvet is his best film, and works well because of its overall logical coherency spiced up by fantastic deviations from the norm (the fantasy element of the film). Lynch loves to realistically portray logical sequences interspersed by fantasy diversions, which entrances but confuses the viewer. Wilkins agrees, and after hanging up, he yells at his dog crouched in a corner about relieving himself all over the place. There is another scene introducing Wilkins (Scott Coffee) who lives in a studio loft above Betty Elms's apartment where Adam phones him just before his meeting with the Cowboy and telling Wilkins about finding his wife in bed with the pool man, and asks Wilkins if he could come over to stay for a while since he has no money.Kenny then is shown breaking all of Adam's golf clubs as payback for trashing the limo and then leaves telling the gangsters in the back of the limo that Adam's not home. A bit scene where after the bruiser Kenny knocks unconscious Adam's wife and the pool man, he walks around Adam's house and sees Adam's wife's jewelry in the kitchen sink which is overflowing with water.The scene ends with the Castigliane brothers leaving first and Adam yelling at the executives over them rigging the casting of the lead actress and about the film being kept locked up in the studio safe. The scene of Adam meeting with the executives is longer with him first arriving holding a iron golf club demanding why he has been called away from the golf course to this meeting and Ray giving him a vague explanation to the movie he's filming.Roque relays the message 'the girl is still missing' to various unseen associates, when the unseen man with the hairy arm on the yellow telephone rings his contact, the original scene was not of a telephone under a lamp with a red shade, but a white speaker phone on a bright blue table and a woman's hand (Camila Rhodes?) answering it, but cutting away before she says anything. Roque of Vincent Darby entering a large office building and taking an elevator to one of the top floors and asking the receptionist if he could enter Mr. An extended scene showing the introduction of Mr.A scene of Betty arriving on the studio lot and meeting Martha Johnson outside the producer's office and Wally coming out the front door to meet her and take her inside.A scene of the Castigliane limo arriving outside Adam Kesher's house where the goon, Kenny, gets out and talks briefly with Taka, the Japanese gardener in the driveway asking if he has seen Adam recently. ![]()
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