Mulholland Dr. (2001) Other movies recommended for you
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Plot: A bright-eyed young actress travels to Hollywood, only to be ensnared in a dark conspiracy involving a woman who was nearly murdered, and now has amnesia because of a car crash. Eventually, both women are pulled into a psychotic illusion involving a dangerous blue box, a director named Adam Kesher, and the mysterious night club Silencio. Runtime: 147 mins Release Date: 25 Oct 2001
This is why this movie is brilliant... actually... never mind. (by ikonoklastik)
10/10Recently, I read an excerpt from a book by Dennis Lim called "David Lynch: The Man from Another Place." In it, the author mentions how much Lynch despises interpretation of his work. He writes:"Writing about David Lynch, it can be hard not to hear his voice in your head, protesting the violence being done to his work. 'As soon as you put things in words, no one ever sees the film the same way,' he once told me. 'And that's what I hate, you know. Talking—it's real dangerous.' Not for nothing does "Mulholland Drive," the Lynch movie that <more>
has invited the most fervent flurry of explication, end with a word of caution: 'Silencio.'"This reminded me that 11 years before this edit I had written this very review on IMDb, which contained an interpretation of the film's plot. I've decided to remove all of that. Whether or not you are satisfied with a particular interpretation of the plot should be irrelevant to your enjoyment of the film. I enjoyed it before I had that satisfying interpretation. And I'm hoping that I can clear it from my mind the next time I watch "Mulholland Dr."I will leave one thing from my original post. A quote by Peter Greenaway. "I would argue that if you want to write narratives, be an author, be a novelist, don't be a film maker. Because I believe film making is so much more exciting in areas which aren't primarily to do with narrative."
My views on why Mulholland Drive is a hair-raisingly good movie (by Martin-77)
There's a sign on The Lost Highway that says:*MAJOR SPOILERS AHEAD* but you already knew that, didn't you? Since there's a great deal of people that apparently did not get the point of this movie, I'd like to contribute my interpretation of why the plot makes perfect sense. As others have pointed out, one single viewing of this movie is not sufficient. If you have the DVD of MD, you can "cheat" by looking at David Lynch's "Top 10 Hints to Unlocking MD" but only upon second or third viewing, please. ; First of all, Mulholland Drive is downright <more>
brilliant. A masterpiece. This is the kind of movie that refuse to leave your head. Not often are the comments on the DVDs very accurate, but Vogue's "It gets inside your head and stays there" really hit the mark.David Lynch deserves praise for creating a movie that not only has a beautifully stylish look to it - cinematography-wise, has great acting esp. Naomi Watts , a haunting soundtrack by Badalamenti, and a very dream-like quality to it -- but on top of it all it also manages to involve the viewer in such a way that few movies have before. After all, when is the last time you saw a movie that just wouldn't leave your mind and that everyone felt compelled to talk and write about, regardless of whether they liked it or hated it? Allright, enough about all that, it's time to justify those statements.Most people that have gone through some effort to try to piece the plot together will have come to the conclusion that the first half of the picture is an illusion/a dream sequence.Of course, that's too bad for all those trying to make sense of the movie by expecting "traditional" methods in which the story is laid out in a timely, logic and linear manner for the viewer. But for those expecting that, I urge you to check the name of the director and come back again. ; MD is the story of the sad demise of Diane Selwyn, a wannabe-actor who is hopelessly in love with another actor, Camilla Rowles. Due to Diane's lack of talent, she is constantly struggling to advance her career, and feels she failed to deliver on her own and her parents' expectations. Upon realizing that Camilla will never be hers C. becomes engaged with Adam Kesher, the director , she hires a hitman to get rid of her, and subsequently has to deal with the guilt that it produces.The movie first starts off with what may seem as a strange opening for this kind of thriller; which is some 50s dance/jitterbug contest, in which we can see the main character Betty giving a great performance. We also see an elderly couple which we will see twice more throughout the movie together with her, and applauding her.No, wait. This is what most people see the first time they view it. There's actually another very significant fact that is given before the credits - the camera moving into an object although blurry and the scene quickly fading out. If you look closely, the object is actually a pillow, revealing that what follows is a dream.The main characters seen in the first half of the movie:Betty: Diane Selwyn's imaginary self, used in the first half of the movie that constitutes the "dream-sequence" - a positive portrayal of a successful, aspiring young actor the complete opposite of Diane . 'Betty' was chosen as the name as that is the real name of the waitress at Winkies. Notice that in the dream version, the waitresses' name is 'Diane'.Rita: The fantasy version of Camilla Rhodes that, through Diane's dream, and with the help of an imaginary car-accident, is turned into an amnesiac. This makes her vulnerable and dependent on Diane's love. She is then conveniently placed in Betty/Diane's aunt's luxurious home which Betty has been allowed to stay in.Coco: In real life, Adam's mother. In the dream part, the woman in charge of the apartment complex that Betty stays in. She's mainly a strong authority figure, as can be witnessed in both parts of the film.Adam: The director. We know from the second half that he gets engaged with Camilla. His sole purpose for being in the first half of the movie is only to serve as a punching bag for Betty/Diane, since she develops such hatred towards him.Aunt Ruth: Diane's real aunt, but instead of being out of town, she is actually dead. Diane inherited the money left by her aunt and used that to pay for Camilla's murder.Mr. Roach: A typical Lynchian character. Not real; appears only in Diane's dream sequence. He's a mysterious, influential person that controls the chain of events in the dream from his wheelchair. He serves much of the same function as the backwards-talking dwarf which he also plays in Twin Peaks.The hitman: The person that murders Camilla. This character is basically the same in both parts of the movie, although rendered in a slightly more goofy fashion in the dream sequence more on that below .Now, having established the various versions of the characters in the movie, we can begin to delve into the plot. Of course I will not go into every little detail neither will I lay it out chronologically , but I will try to explain some of the important scenes, in relation to Lynch' "hint-sheet".As I mentioned above, Camilla was re-produced as an amnesiac through her improbable survival of a car-accident in the first 10 minutes of the movie, which left her completely vulnerable. What I found very intriguing with MD, is that Lynch constantly gives hints on what is real and what isn't. I've already mentioned the camera moving into the pillow, but notice how there's two cars riding in each lane approaching the limo.Only one of the cars actually hit the limo; what about the other? Even if they stayed clear of the accident themselves, wouldn't they try to help the others, or at least call for help? My theory is that, since this is a dream, the presence of the other car is just set aside, and forgotten about. Since, as Rogert Ebert so eloquently puts it "Like real dreams, it does not explain, does not complete its sequences, lingers over what it finds fascinating, dismisses unpromising plotlines."Shortly after Rita crawls down from the crash site at Mulholland Dr., and makes her way down the hillside and sneaks into Aunt Ruth's apartment, Betty arrives and we see this creepy old couple driving away, staring ghoulishly at each other and grinning at themselves and the camera. This is the first indication that what we're seeing is a nightmare.Although the old couple seem to be unfamiliar to Betty, I think they're actually her parents since they were applauding her at the jitterbug contest . Perhaps she didn't know them all that well, and didn't really have as good a relationship with them as she wanted, so the couple is shown as very pleasant and helpful to her in the dream. They also represent her feelings of guilt from the murder, and Diane's sense of unfulfillment regarding her unachieved goals in her life.A rather long and hilarious scene is the one involving the hitman. Diane apparently sees him as the major force behind the campaign trying to pressure the director to accept Camilla's part in the movie from Adam's party in the second half of the movie , and he therefore occupies a major part of her dream. Because of her feelings of guilt and remorse towards the murder of Camilla, a part of her wants him to miss, so she turns him into a dumb criminal.This scene, I think, is also Lynch's attempt at totally screwing his audience over, since they're given a false pretence in which to view the movie.Gotta love that 'Something just bit me bad' line, though. : The next interesting scene is the one with the two persons at Twinkies, who are having a conversation about how one of them keep having this recurring nightmare involving a man which is seen by him through a wall outside of the diner that they're sitting in. After a little talk, they head outside and keep walking toward the corner of a fence, accompanied of course by excellent music matching the mood of the scene.When reaching the corner, a bum-like character with a disfigured face appears out from behind the corner, scaring the living crap out of the man having the nightmare. This nightmare exists only in Diane's mind; she saw that guy in the diner when paying for the murder. So, in short, her obessions translate into that poor guy's nightmares. The bum also signifies Diane's evil side, as can be witnessed later in the movie.The Cowboy constitutes along with the dwarf one of the strange characters that are always present in the Lynchian landscape -- Diane only saw him for a short while at Adam's party, but just like our own dreams can award insignificant persons that we hardly know a major part in our dreams, so can he be awarded an important part in her dream. We are also given further clues during his scenes that what we're seeing is not real his sudden disappearance, etc. The Cowboy is also used as a tool to mock the Director, when he meets up with him at the odd location the lights here give a clear indication that this is part of a dream . Also notice how he says that he will appear one more time if he Adam does good, or two more times if he does bad. Throughout the movie he appears two more times, indicating to Diane that she did bad. He is also the one to wake her up to reality that scene is probably an illusion made to fit into her requirements of him appearing twice , and shortly thereafter she commits suicide.The espresso-scene with the Castigliane brothers where we can see Badalamenti, the composer, as Luigi is probably a result of the fact that Diane was having an espresso just before Camilla and Adam made their announcement at Adam's party in the second half. It could at the same time also be a statement from Lynch.During the scene in which they enter Diane's apartment, the body lying in the bed is Camilla, but notice how she's assumed Diane's sleeping position; Diane is seeing herself in her own dream, but the face is not hers, although it had the same wounds on the face as Diane would have after shooting herself. This scene is also filled with some genuine Lynchian creepiness. Since Diane did not know where or when the hitman would get to Camilla and finish her off, she just put her into her own home.In real life, Diane's audition for the movie part was bad. In her dream, she delivers a pe
love lynch, or hate lynch, admit he's a master (by orangecatdancing)
"twin peaks" and "blue velvet" have always been two of my favourite pieces of film-making, and even though past films by lynch have been slightly disappointing for me they have always been worth watching a number of times. to be pretentious, lynch can be like a good wine - he must be savoured and mulled over. but in the end you must make up your own mind about what you have seen, for lynch never gives you the full answers.many people will walk out of "mulholland drive" possibly wanting to throttle themselves over the mind-bending visual jigsaw puzzle that has <more>
just unfolded before them. but there is a twisted logic to this film, you just have to look for the clues. betty naomi watts arrives in hollywood, doe-eyed and in search of stardom. she then finds an amnesiac in her bathroom who has escaped from an attempted murder on mulholland drive. together they try to uncover the secrets behind the amnesiac's life. this all leads to a club called silencio, where a blue box will reveal all. and that is when the film throws everything out the window. people we thought we knew are entirely different people altogether... is it a dream? a reminiscence about life's previous escapades? you will either love this film or hate it. david lynch always draws such extreme reactions from his viewers. but as his universe itself is always about extremes, it is fitting that his films provoke such reactions.It is best to look at this film thematically, rather than as a straight-forward narrative. and appreciate the fact that lynch is a film-maker who will still let you draw your own conclusions. he has had many imitators as of late, particularly in "vanilla sky", where a mind-bending film decides to give you all the answers in the last rushed five minutes, and you will probably forget about that film as soon as you walk out of the cinema. mulholland drive will haunt you.
Possibly Lynch's best; brilliant, enigmatic, and masterfully filmed (by KnightLander)
Originally filmed in 1999 as a TV pilot, "Mulholland Dr." was rejected. The next year, David Lynch received money to film new scenes to make the movie suitable to be shown in theaters. He did so - and created one of the greatest, most bizarre and nightmarish films ever made.The film really doesn't have main characters, but if there were main characters, they would be Betty Naomi Watts and Rita Laura Elena Harring . Betty is a perky blonde who's staying in her aunt's apartment while she auditions for parts in movies. She finds Rita in her aunt's apartment and <more>
decides to help her. You see, Rita's lost her memory. She has no clue who she is. She takes her name, Rita, from a "Gilda" poster in the bathroom. So the two set out to discover who Rita really is.David Lynch has been known for making some weird movies, but this film is the definition of weird. It's bizarre, nightmarish, and absolute indescribable. It's like a dream captured on film. By the 100-minute point, the film has become extremely confusing - but if you've been watching closely, it will make perfect sense. Having watched the movie and then read an article on the Internet pointing out things in the film, I now understand the movie completely.The acting is very good. Watts is terrific. Justin Theroux is very good as a Hollywood director facing problems with the local mob. The music is excellent. Angelo Badalamenti delivers one of his finest scores. And the directing - hah! David Lynch is as masterful a filmmaker as ever there was.Is this your type of film? Well, that depends. You should probably view more of Lynch's work before watching this movie. You'll need to be patient with the film, and probably watch it a second time to pick up the many clues Lynch has left throughout the movie. For Lynch fans, this is a dream come true."Mulholland Dr." is a masterpiece. It's brilliant, enigmatic, and masterfully filmed. I love it.
We all love to have our minds toyed with but sitting through a David Lynch film is like having your brain removed entirely. This film is no different as it proves that Lynch Next to Bunuel is a master surealist film maker.The film sees a young girl known only as Rita trying to remember who she is. The whole "girl with amnesia" plot make a lot of sense until about 3/5 of the way through the film when something that can only be described as a Lynchian Pandora's Box is opened. We are then tormented with a demonic homeless man, a mysterious Spanish play house and shrunken people <more>
before it all finishes in very dramatic, surreal David Lynch fashion.This film is perfect. There is no other way to describe such a great piece of work. It is flawless because it is helmed by a man that knows everything about his craft and is not afraid to show it off. This sort of film has been sorely missed since his last outing, Lost Highway, in 1996. It's good to see Lynch at his old game and lets just hope in future that he produces more gems just like this.5/5
Quirky, unconventional, challenging--typical Lynch, typically brilliant (by Sisiutil)
*SPOILER ALERT*It's almost impossible to discuss this film without divulging spoilers. But you really should experience it without any preconceptions. Suffice it to say that I highly recommend the film. If you've enjoyed Lynch's work before, you'll probably love Mulholland Dr.; if you're not familiar with his movies but like an unconventional film experience that challenges your intelligence, you'll probably love it; but if you prefer conventional stories that don't require you to engage your cerebrum beyond paying attention, you'll probably hate it. Anyway, if <more>
it sounds like you'd like it, go out and see it and don't read any further. Okay. The first clue that you are NOT in for a conventional film experience is when the words "A Film By David Lynch" appear on the screen in the film's opening seconds. Unlike the much more widely-lauded Tarantino, with who he shares a penchant for non-linear narratives, Lynch is not content to merely let his film be a mere bloody and foul-mouthed homage to a number of B-movie genres. No, Lynch is, as he always does, going to challenge his audience--delighting many and royally ticking off others. Lynch spends nearly two hours gradually building up a complex narrative--a mystery with some typically Lynchian quirks--and the characters in it, all the while suffusing the events on the screen with an ominous sense of foreboding and dread. Then he takes an unexpected left turn, deconstructing everything that went before. The result is breathtaking, and unlike most modern films that you can dissect in mere minutes, this one could keep you arguing for weeks. Lynch is willing to take chances that make most other film-makers wet their shorts. He allows the camera to linger longer on a particular shot than most of today's ADD-ridden, MTV-trained directors are willing to do. He's unafraid to use unusual camera angles, or to try to find the disturbing qualities in mundane, ordinary inanimate objects. Brian De Palma spent most of the 80s trying to be Hitchcock's successor and failed; Lynch is the Master's true heir. He gets great performances from his cast, too. Harring and Theroux are both strong, but Naomi Watts is the real stand-out, showing incredible depth and range. No wonder this role put her on the map, and deservedly so.There's a lot of discussion about making sense of the film's abrupt narrative change, but I got it within minutes, on the first viewing. All the clues were there. I'm more interested in what the film's about.Most of Lynch's work especially his two other best-known works, "Twin Peaks" and "Blue Velvet" portrays the dichotomy of America: cheery, neighborly, painfully naive optimism on the one hand; and a dark, seedy and dangerous underbelly on the other. With that perspective, it's amazing that it took him so long to make a movie about Hollywood. The first part of the film is not just a dream, it's an illusion, and that's what Hollywood is all about. And we don't just love and cherish those illusions, we need them desperately. When Betty/Diane's illusions are stripped from her, when she sees the hypocrisy of Hollywood, it doesn't bring enlightenment. She and the one person she loves most are both destroyed in the process. As a result, we end up seeing the first two hours of the movie as Diane's desperate, final attempt to reboot her life. She attempts to live it out as it should have been, as it could have been. But reality intrudes. She's had the blindfold pulled from her eyes, and she's not just seen her worst, ugliest side, she's set it loose upon her ex-lover and eventually herself.This is dark, even horrific stuff, and tragic as well. It's also damn brilliant.
Not my favorite Lynch film, but very good and intriguing (by BrandtSponseller)
After two brief scenes that at first seem unrelated to the rest of the film, we see a dark-haired, obviously rich beauty in the back of a limousine. Her driver stops at an odd location on Mulholland Drive, which is a twisting, thickly wooded two-lane road full of mansions overlooking Los Angeles. Just as her driver and another man in the passenger seat turn around to kill her, two drag racing cars from the opposite direction come crashing into the limo. Only the dark-haired woman survives. She works her way down the ridge to Sunset Boulevard and hides in a vacationing woman's apartment. <more>
Shortly after, Betty Naomi Watts , the vacationing woman's niece, shows up at the apartment and runs into the dark haired woman, who now has amnesia. The bulk of the first part of the film is Betty and the dark haired woman trying to figure out who she is, why people were trying to kill her and why she had thousands of dollars and a strange key in her purse. This is interspersed with oddly surreal threads about Hollywood producers and directors, with occasional forays into a land of hoodlums and prostitutes.The above may sound a bit complicated and disjointed, but that's not the half of it. The film is constructed so that the meaning will always be open to interpretation. It's basically guaranteed that you will not understand this film and you will not have very much confidence arriving at your own interpretation the first time around. Even if you have a lot of experience with like-minded films--such as Memento 2000 , Donnie Darko 2001 , The I Inside 2003 and The Butterfly Effect 2004 --you may not understand it on a second viewing, either. The studio was aware of this to the extent that they had director David Lynch write "10 clues to unlocking this thriller" and they put it on the back of the chapter listing insert in the DVD. Lynch being of a particular disposition, these clues are almost as cryptic as the film itself. It doesn't help when trying to figure it out in the early stages that the structure is extremely complex. It takes a very long time to figure out what parts are supposed to be "real" and there is a complex nesting of flashbacks in some sections, with only contextual clues that they're flashbacks.But is the film worth watching, or worth trying to figure out? That depends on your tastes, obviously. On a surface level, the film is certainly attractive if you are a fan of surrealism, although it will tend to seem a bit slow and overly disjointed to some viewers. But those qualities, and many other surrealist aspects of the film, are typical of Lynch. A prime Lynchian moment is the old couple in the beginning bizarrely smiling almost as if they're alien pod people trying to put on a front. If you're familiar with that style and like it, you'll find much to love here, although in many ways, Mulholland Drive is fairly understated for Lynch. It's also worth noting, for viewers who'll primarily be interested in it or who enjoy it just as much as other aspects, that Mulholland Drive has a quite steamy lesbian scene. It's not gratuitous, although I have no problems with gratuitousness, but is instead an important hinge in the film.Like all of Lynch's films, it's easy to become enraptured in his unique approach to every aspect of filmic art and his attention to detail. Any serious student of film including "armchair students"/"cinephiles" should study Mulholland Drive; many will love it. Lynch doesn't let anything pass unmanipulated. He includes brilliant color schemes such as the plethora of reds and pinks with important symbolism. He makes unusual use of sound, such as the ringing telephone carrying over into the section of score that follows it when Betty first arrives at the airport . He directs his actors to deliver their lines in a plethora of bizarre ways, such as his characteristic odd pauses. He lets his odd and surprising sense of humor poke through, such as the name "Winkie's", and the "Hot Dogs--made for Pinks" sign that provides a clue to some of the color symbolism.Lynch's attention to detail in production design provides important, subtle clues throughout the film to help one unlock the meaning. It's interesting to note that Lynch even apparently demands that the DVD programming be unusual--there are no chapters on the disc; you must either watch the film in real time or fast forward or rewind to get back to particular points.If the surrealism and veiled meaning of the film are attractive to you, or if you're just fond of "puzzles", then Mulholland Drive is well worth watching for that aspect. There is a fairly accepted interpretation of the film, at least on a broad, generalized level. I won't recount the standard interpretation here--it is worth researching, but only after you've seen the film a couple times and have reached your own conclusions. Many articles and monographs have been written on the film and interpretations; there are even websites dedicated to it.For my money, however, although I generally love Lynch and find many things about Mulholland Drive attractive, it is not quite a 10 for me, at least not yet I have a feeling that my score could still rise on subsequent viewings . To me, though, the "twist" aspect of the film is done much better in other works such as The I Inside and The Butterfly Effect. Mulholland Drive is more attractive to me for its surface surrealistic touches, but the plot doesn't carry them as well as some of Lynch's other films.Still, Mulholland Drive is certainly recommended for the right crowd. If you're serious about film and do not mind having to think about what you watch as if those two would not necessarily coincide , you shouldn't miss this one.
Another Strange-But-Fascinating Film From That Strange Director (by ccthemovieman-1)
Wow, what a strange film. It's a David Lynch movie so it's no surprise that it is weird. I defy anyone to totally explain everything in this film. I can't be done. After some research following my second viewing of this film, I pretty much know most of the story but on a first look, and with no aid from other reviewers or outside help, it is hard to figure things out. So, if you're in that boat and was confused, don't feel bad; that's normal. Let me just say the key to the film is Naomi Watts' character.At any rate, I find the film fascinating. I love the wonderful <more>
visuals and rich colors and find each character in this movie really different and fun to watch. The camera-work is excellent and the music is creepy, a la Lynch's "Blue Velvet." There also are some good sound effects to help some of the dramatic scenes. In all, it's very well scored.Like Lynch's "Twin Peaks" television series, this was a film in which the end was pieced together afterward since Lynch thought this film was going to be a long, drawn-out TV series. When that didn't happen, he pieced at the last minute this ending. That may account for some of the confusion at the end and the lack of explanations concerning characters we see earlier in the film but who mysteriously disappear.The theme of the story, supposedly, is a negative comment about Hollywood and what it does to people, especially those whose dreams of being an actor are crushed.Both Watts and the other leading lady, Laura Eleana Harring, are very interesting to watch, especially in their celebrated lesbian sex scene. Looks- wise, both women were chameleons, looking average at times, stunning at other times.I enjoyed this movie more on the second viewing than the first. It's not just a curiosity piece; it's a very intriguing movie.....just don't feel stupid if you can't make sense of a few things.
Mulholland Drive - Lynch's cinematic art - reality vs. fantasy (by drarthurwells)
Lynch loves to realistically portray logical sequences interspersed by fantasy diversions, which entrances but confuses the viewer. 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 . This technique reminds me of Fellini's 8 1/2, where fantasy was often interspersed with a logical and coherent plot.Mulholland Drive starts off logically but then gradually abandons logical coherence as dream-like but realistically presented sequences are brought into the plot. Then there is <more>
a shift in the plot, from the fantasy of the first part, to the reality of the second part where roles and identities are reversed and reality reigns.Lynch's genius is in his artistic slight of hand where he presents a fantasy scene realistically, sucking the viewer in to expecting a meaningful depiction, then upending these expectations in shocking the viewer with the fantastic elements of the scene. I can imagine Lynch laughing in the background as he plays his joke on the viewer.The film Holy Motors presents pure fantasy in nonsensical and unrelated sequences, and is bad art. Mulholland Drive has enough organization and structure, with more skillfully accomplished fantasy, to qualify it as good art.Naomi Watts gives us an outstanding performance - better than the typical "Best Actress" Oscar award winner's performance in the last 20 years. Watts usually gets roles that don't allow her to display her considerable acting skills, but this role does, and she more than meets the challenge.The plot is secondary for Lynch since cinematic art is his focus. However, the movie is totally baffling unless you have some guidelines. Basically Mulholland drive is the story of a young girl who comes to Hollywood with high hopes of becoming an actress. The film is told in two parts. My interpretation is that the first Watts as Betty part is psychotic delusions of the young girl as she reconstructs her past leading up to the promise of a brilliant acting career. This is presented as reality and the viewer has no idea it is false. The shift to the second Watts as Diane part shows some shifting of roles, and depicts the true story whereby the young girl fails to become an major actress. Her identity is valid, as Diane, in the second part showing her dismal failure, while Rita of the first delusional part becomes Camilla in the second reality part.Naomi Watts thus plays two roles with different identities, in part one and in part two. The two parts are cued by the change in her name from the delusional Betty part I to the real Diane part II . In a clever signal of this personality change, the waitress at Winkie's is named Diane when Betty and Rita go to eat there in the first fantasy part, while this same waitress becomes Betty when Watts as Diane goes to Winkie's in the real second part.The plot shift from fantasy to reality mirrors the high hopes and aspirations as fantasy Part I as Betty and dismal failure as reality Part II as Diane , that happens so often as young would-be performers seek fame in Hollywood but end up as failures.