King of Hollywood

Chapter 227: Confusion

“This is the first film by a miracle director that involves intimidation, suspicion, and type of crime. Frankly, no one understands what he wants to express in the film, but there are suspenses everywhere and connections everywhere. Adrian not only picks up what he once lost, but also deepens it constantly, causing anxiety and wants to continue pursuing it.” - Figaro

“It's a movie that needs to give up on itself, and it's made up of countless pieces, and Adrian wants to take another gold palm for herself with his colorful, multi-line narrative, but it doesn't seem to have used it for too long, and then he overplays it and presents such a boring piece.” —— The Guardian []

“I can't believe this movie is filled with pathetic, fractured pieces of junk. Want to find logic in it? Sorry, you're in the wrong place, but the miracle director's light seems to be fading.” - The New York Times

As the most sought-after work of the current Cannes Film Festival, many comments came immediately after the release of Muhland Road, surprisingly many people found that most of these comments were not very good, and film critics from different countries seemed to have agreed that the lack of logic in the film was a considerable defeat. Even though many people - French and Italian - think it's good, the composition of the lens, the use of colour, the creation of the atmosphere and the split little story, and the performances of the two actresses are quite remarkable, this fact cannot be avoided when it comes to film logic.

“It's a strange thing that Adrian, as the famous miracle director, could not direct such a pointless film, so why couldn't he articulate what he wanted to say?” One film critic questioned, and it was also questioned by many who watched the premiere, and although the applause after the premiere was quite warm, it did not dispel their doubts, which were further exacerbated by Adrian's seemingly rather than answers.

But there are also a lot of people who dare to gloat, and that's exactly what they want to see, and they've been waiting too long for this moment. So over the next two days, the commentary on Muhland Road became more intense, with words like "The Miracle Director has run out” and “This is a bad Waterloo” constantly appearing in the newspapers, which made many miracle directors very dissatisfied, but they didn't know how to refute it. Despite Adrian's films on various subjects, the style of Muhland Road and his previous works was so different that the only similarity was with the Big Eye Ring, but that was Kubrick's.

Adrian faced this situation with no response. The reporters stayed outside the hotel for two days, Nicole and Naomi, all met several times, but they couldn't catch the miracle director. While they were depressed, they were stealing from themselves, and almost all thought that the miracle director was somewhat unacceptable, so they couldn't get out of the room, and naturally played randomly.

But this hasn't lasted long, because of Roger? Albert's movie reviews are coming out soon.

“This is an amazing piece, and it took me a few days to taste it and take time to see it again at the cinema. Adrian is undoubtedly a very tricky director, and whenever you think you're familiar with his style of doing things, he presents unexpected pieces and always maintains extraordinary vitality and significance, especially in low-cost films like Muhland Road, yes.

A lot of people think that Muhland Road's biggest failure lies in an illogical story, but I think it's the most interesting part of the movie. Even the toughest people won't deny that there's a clear connection between the top and bottom parts of the obvious division, and for the simplest example, the actress from Canada in the first half is called Betty, and in the back it's called Diane, and in the front the amnesia woman is called Rita —— obviously from Rita? Hayworth —— and then there's Betty, who obviously has an inseparable relationship, as evidenced in the film. So what's the connection between the name Diane? Simply, in the first half, the waitress at the cafe was called Diane, and in the second half, the waitress's name changed to Betty. (Note)

Very interesting, isn't it? If you take a closer look, you'll find that the first half of the characters also appear in the second half, but their image has changed dramatically, and what the connection is, the audience needs to look for it themselves. Think about how delightful it will be when you find the whole clue in a mess of hemp, pulling the cord out because of some thread.

This is a * * movie that exists not to tell a story, but to let the audience look for their own story, and as Adrian said after the premiere, there is no standard answer, and a thousand people have a thousand Hamlets. Muhland Road gave the audience enough clues to look for, and it was wonderful, not to lose to any of Adrian's previous works, and I think I'd watch it again sometimes, and as for what story I saw, I'm sorry, that was my thing.

It's also worth mentioning that the acts of the two actresses add a lot of color to the film, Nicole? Kidman interprets the confusion, fear and confusion in front, the sexiness and witchcraft in the back, which should be her best role in years. And Naomi? Watts wins even more, besides her naiveté and self-confidence as a beginner and her struggle in despair after losing her lover, there is a theater scene with auditions, which she holds very well, convincingly, almost seemingly the different destinies of a Hollywood actress at different stages, very well, I'm going to give her a thumb up. "

- Roger? Albert.

Albert is one of the top film critics in Hollywood, and even the highly self-respecting Europeans can't stab much when it comes to his film critique. Now that he has said that, there must be some merit in Muhland Road, where exactly is the film?

After the premiere, the traffic began to decline, and the theater that played the film Muhland Road suddenly hit its second peak, with curiosity and fame, wanting to see it again, and wanting to prove itself better than Roger? Albert was smart and so on, and then the new movie reviews started coming out again.

In fact, it cannot be said that it is a new film critique, as many of the comments were made by silent film critics after the premiere. These are truly famous critics who would rather watch as many times as Albert did than make random conclusions. Another reason, of course, is that this is the work of a miracle director.

From the beginning to the present, every time someone doesn't like him and then makes a mockery of him, Adrian punches them in the face with facts, twice or even three or four times, and if each time they are beaten in the face and despised tirelessly, it's not personality, it's brain damage and masochistic fanaticism.

Film critics write movie reviews for "", not for directors or producers. If a reader is on the side of a film critic repeatedly, no one is willing to stand with them unless they are also mentally retarded and masochistic. So if there's no special reason, such as having an affair with Adrian or a special mission, these well-known film critics will be very cautious.

“This is indeed a bizarre film, especially the latter half, the desperate tale of a desperate actress, enough to sting our nerves and continue to sting.” - Los Angeles Times

“From a performance standpoint alone, Naomi's character is probably one of the most challenging so far this year.” - The Times

“The absurd, illogical story contains a cruel subject, deeply displaying the other side of Hollywood, which is also one of the miracle director's good intentions.” - Liberation Newspaper

After all, Muhland Road is a movie full of logical fragments, without a hint, and Albert is unclear, and it's hard to spell it out for a moment and a half. But that doesn't mean that movie reviews can't be written. The overall plot is uncertain. There are performances that actors can perform. Besides, the two stories are basically complete. It's also easy to find something to say from them.

Not only is the commentary community busy because of this, but there is also a lot of discussion among ordinary fans about movies, and there are also a lot of fans on the official AC Media website about movies who are deliberately visiting Cannes to communicate in the forum. But it wasn't them who were busiest, it was David who got involved because of Adrian? Lynch.

For David? For Lynch, this is supposed to be the worst month of his life, May, because last year's Lost on the Highway was unprecedented and tragic, and he had no plans this year to stay home and go nowhere. But when they woke up, their house was full of reporters, and they just opened the door, and they held up the camera and shot, and they handed over the microphone, the pen, and so on to themselves, and they asked him frantically about his relationship with the miracle director Adrian.

God testifies that he is also a more famous director in Hollywood, but because the style of directorship is so weird, despite having such a famous cult TV show as * * Town, the audience is always small, and he has never been treated so heavily in private except at film festivals, which is damn it.

“I'm sorry, I don't know what you're talking about. Me and Adrian? Mr. Cowell did not cross.” In the face of the bombardment of journalists, Lynch could only repeat that sentence repeatedly, but how could journalists believe that Adrian himself admitted that it was not his work, “David? Lynch's work."

There was nothing Lynch could do but return to his home and the day was ruined. The next few days were no longer able to get out of the house, but he finally figured out the reason for the incident. Although he did not know how the miracle director who did not interact with him could say such a thing, he promptly informed his family, friends and brokers and issued a statement through the broker that he did not provide any help to Mr. Adrian in his work, nor did he interact with Mr. Adrian in any way. As to why Mr. Adrian said that back, please ask him why he is better. Of course, he respects young directors such as Mr. Adrian and hopes for opportunities for cooperation and other occasions.

After Lynch's resolute gesture, the journalists became confused, and in fact, since there was nothing between them, why would Adrian say that? At a time when they couldn't figure it out, Albert's film critique was published in the Los Angeles Times and published only by a small, well-known critic, but the content could not be ignored because his title was: Just a Dream.

“I don't know how many people noticed this detail when the front and back stories split, that is, when Rita opened the blue box, after the smoke, Betty or Diane was lying asleep in bed, and threatened the cowboy who directed Adam to open the door and come in, when the camera switched, not Betty or Diane lying in bed, but the rotten corpse. Then, the cowboy smiled, turned around, switched shots, and still Betty or Diane lay in bed, and the second story started.

It should be noted that Betty, or Diane, was lying in the same position as the rotten corpse, and then when she shot herself, she fell in the same position as the rotten corpse. And through the details of the second story, we can be sure that Diane loved Betty very much, but Betty, while she had feelings for her, was less intense than she was, so when Betty announced and director Adam were getting married, Diane, hated by love, found the killer and asked him to kill Betty, but when she found out that Betty was really dead —— the blue box —— the torture of her conscience left her in pain and ended up swallowing herself. ”

The whole article was thoroughly analyzed, Betty.

Diane and Rita.

Betty had an affectionate relationship and then sat in a pair of numbers with the person in front, such as the director in the back, so in the previous dream, he was not only threatened by the mob, but his wife slept with the painter, and eventually the bankruptcy had to yield. Or the relationship between Betty, Diane, Rita, the beautification of Betty in Diane's heart, and the different vibes of Rita's two performances on the line and at the audition, I have to say, this guy is pretty careful.

Soon after this story, the enthusiastic response arose. Both the general audience and the big and small film critics started discussing it, and there was a lot of support and a lot of opposition. The most important thing for the opposition was, if it was a dream, if it was a dream, then swallowing a gun and committing suicide, why would you dream of a rotten female corpse?

Supporting people's nature to preserve the term "dream”, after all, there was a logical explanation, so various reasons were put forward. For example, since it was a dream, it was normal to have something that was not logical, the miracle director or just wanted to use this way to guide everyone's thinking. Wouldn't it be strange if it was normal to look for logical and illogical places, that's not what they had to think about?

Anyway, the heated debate started again. In less than a week, Muhland Road's reputation in Cannes rose again. It became the most popular film in the festival, and people who came to the festival were not comfortable talking to others if they didn't go to the theater to see a show.

And then, very soon, fans grew on fire and posted on the Internet, "Is the miracle director talking to David? Lynch salutes" such posts.

“As long as someone sees David? All of Lynch's work reveals how many typical 'Lynch-style’ vocabularies and scenes Adrian has in his new work: sudden, dark, squeaky lights, neurotic narrators, masculine mysteries, singers who have fallen on stage but still brighten up the songs around the beams, and plots of harmonious black films: sexy women with amnesia, tall white men in trench coat sunglasses, and so on. Why did Adrian claim after the premiere that it was actually David? The reason for Lynch's work is that it's a tribute.”

This is a small section of that fan post, followed by a more detailed analysis of the similarities between Muhland Road and those of Lynch. This happens because the person who wrote the article was once an Adrian fan, and he was a fan of small films, and Lynch's weird films were running with his appetite, and he liked to run to the European Film Festival.

Originally because "Two Big Smoke Guns" and "Low Volume Novel" liked Adrian, he left after he started directing mainstream films. This time he came to Cannes to hear that he had another new entry, and took time to watch a show. This kind of person would naturally love a movie like this, and then they would start to laugh at each other's speculations, and then they would see what Adrian said in the paper after the premiere, and they would start to compare, and they would have that post.

Of course, there have been many reprimands, especially from Adrian's loyal fans, who believe that this analysis is unjustified and totally flattering, and to whom the miracle director does not need to pay tribute. But the fan also had some supporters, just like the newspaper about how to interpret Muhland Road, who were eventually reproduced in the newspaper by a sensitive smeller.

How many people would have fallen into the glasses if it came out like this, David? Lynch's weird style work is still very artistic in the eyes of these people in Europe, so he receives too much attention here than in Hollywood, and naturally someone is familiar with his style. Immediately after this post was reproduced, someone came out to say that it is very similar.

“This is incredible, but Muhlando does have a distinct 'Lynch-style’ style.” A more famous French film critic said so.

So all the mess around the movie got even more confusing.