Editing Mulholland Drive (film) (section)

==Characters==
[[File:BettyMulholland.jpg|thumb|right|300px|alt=Naomi Watts beaming and facing into soft light holding the arm of an older woman while they take a down escalator at Los Angeles International Airport|Betty (Watts) arrives in Los Angeles; pictured with Irene ([[Jeanne Bates]]). Betty is bright and optimistic, in contrast to Diane—also played by Watts—in the later part of the film.]]
'''Betty Elms''' (Naomi Watts) is the bright and talented newcomer to Los Angeles, described as "wholesome, optimistic, determined to take the town by storm,"<ref name="lopate" /> and "absurdly naïve."<ref name="taubin">[[Amy Taubin]], "[http://www.lynchnet.com/mdrive/filmc2.html In Dreams] {{Webarchive|url=https://web.archive.org/web/20130921055707/http://www.lynchnet.com/mdrive/filmc2.html |date=September 21, 2013 }}," ''[[Film Comment]]'' 5, no. 37 (September 2001): 51–55.</ref> Her perkiness and intrepid approach to helping Rita because it is the right thing to do is reminiscent of [[Nancy Drew]] for reviewers.<ref name="taubin" /><ref name="ebert">[[Roger Ebert]], "[https://www.rogerebert.com/reviews/mulholland-drive-2001 Mulholland Drive] {{Webarchive|url=https://web.archive.org/web/20131001124118/http://www.rogerebert.com/reviews/mulholland-drive-2001 |date=October 1, 2013 }}," ''Chicago Sun-Times'', June 2001.</ref>{{sfn|Johnson|2004|p=155}} Her entire persona at first is an apparent cliché of small-town naïveté. But it is Betty's identity, or loss of it, that appears to be the focus of the film. For one critic, Betty performed the role of the film's [[consciousness]] and [[Unconscious mind|unconscious]].<ref name="taubin" /> Watts, who modeled Betty on [[Doris Day]], [[Tippi Hedren]] and [[Kim Novak]], observed that Betty is a thrill-seeker, someone "who finds herself in a world she doesn't belong in and is ready to take on a new identity, even if it's somebody else's."<ref name="fuller" /> This has also led one theorist to conclude that since Betty had naïvely, yet eagerly entered the Hollywood system, she had become a "complicit actor" who had "embraced the very structure that" destroyed her.<ref name="hageman" /> In an explanation of her development of the Betty character, Watts stated:

<blockquote>I had to therefore come up with my own decisions about what this meant and what this character was going through, what was dream and what was reality. My interpretation could end up being completely different, from both David and the audience. But I ''did'' have to reconcile all of that, and people seem to think it works.<ref>{{cite interview|title=Driven To Tears (on Mulholland Drive)|last=Watts|first=Naomi|interviewer=Paul Fischer |url=https://iofilm.com/filmmaking/acting/2001-10-16-741-naomi-watts-driven-to-tears|website=iofilm |date=16 October 2001 |url-status=live |archive-url=https://web.archive.org/web/20120806050943/http://www.iofilm.co.uk/feats/interviews/n/naomi_watts.shtml |archive-date=August 6, 2012}}</ref></blockquote>

Betty, however difficult to believe as her character is established, shows an astonishing depth in her audition.<ref name="vass" /><ref name="toles">{{cite journal |last=Toles |first=George |year=2004 |title=Auditioning Betty in Mulholland Drive |journal=Film Quarterly |issue=58 |volume=1 |pages=2–3|doi=10.1525/fq.2004.58.1.2 }}</ref> Previously rehearsed with Rita in the apartment, where Rita feeds her lines woodenly, the scene is "dreck"<ref name="lopate" /> and "hollow; every line unworthy of a genuine actress's commitment," and Betty plays it in rehearsal as poorly as it is written.<ref name="toles" /> However, though nervous but plucky as ever at the audition, Betty enters the cramped room, and when pitted inches from her audition partner (Chad Everett), she turns it into a scene of powerful sexual tension that she fully controls and draws in every person in the room. The sexuality erodes immediately as the scene ends and she stands before them shyly waiting for their approval. One film analyst asserts that Betty's previously unknown ability steals the show, specifically, taking the dark mystery away from Rita and assigning it to herself, and by Lynch's use of this scene, he illustrates his use of deception in his characters.<ref name="toles" /> Betty's acting ability prompts Ruth Perlmutter to speculate that if Betty is acting the role of Diane in either a dream or a parody of a film, ultimately her acting turns against her.<ref name="perlmutter" />

'''Rita''' (Laura Elena Harring) is the mysterious and helpless apparent victim, a classic ''femme fatale'' with her dark, strikingly beautiful appearance. Roger Ebert was so impressed with Harring that he said of her "all she has to do is stand there and she is the first good argument in 55&nbsp;years for a ''Gilda'' remake."<ref name="ebert" /> She serves as the object of desire, directly oppositional to Betty's bright self-assuredness. She is also the first character with whom the audience identifies, and as viewers know her as confused and frightened, not knowing who she is and where she is going, she represents their desire to make sense of the film through her identity.{{sfn|McGowan|2007|p=198}} Instead of threatening, she inspires Betty to nurture, console and help her. Her amnesia makes her a blank persona, which one reviewer notes is "the vacancy that comes with extraordinary beauty and the onlooker's willingness to project any combination of angelic and devilish onto her."<ref name="lopate" /> A character analysis of Rita asserts that her actions are the most genuine of the first portion of the film, since she has no memory and nothing to use as a frame of reference for how to behave.<ref name="hudson" /> Todd McGowan, however, author of a book on themes in Lynch's films, states that the first portion of ''Mulholland Drive'' can be construed as Rita's fantasy, until Diane Selwyn is revealed; Betty is the object that overcomes Rita's anxiety about her loss of identity.{{sfn|McGowan|2007|p=199}} According to film historian Steven Dillon, Diane transitions a former roommate into Rita: following a tense scene where the roommate collects her remaining belongings, Rita appears in the apartment, smiling at Diane.{{sfn|Dillon|2006|p=94}}

{{multiple image
| align     = left
| total_width = 350
| caption_align = center
| image1    = Rita Poster Mulholland.jpg
| alt1= Laura Elena Harring wet from a shower and wrapped in a red towel, looking into the mirror at a reflection of the theatrical poster for the film ''Gilda''
| caption1 = {{resize|Harring as the dark-haired woman}}
| image2    = Gilda (1946 one-sheet poster - Style B).jpg
| alt2      = Poster for the film ''Gilda'' with Rita Hayworth
| caption2 = {{resize|''[[Gilda (film)|Gilda]]'' poster (1946)}}
| footer = The dark-haired woman assumes the name "Rita" after seeing the name on a poster. Her search for her identity has been interpreted by film scholars as representing the audience's desire to make sense of the film.
}}
After Betty and Rita find the decomposing body, they flee the apartment and their images are split apart and reintegrated. David Roche notes that Rita's lack of identity causes a breakdown that "occurs not only at the level of the character but also at the level of the image; the shot is subjected to special effects that fragment their image and their voices are drowned out in reverb, the camera seemingly writing out the mental state of the characters".<ref name="Roche" /> Immediately they return to Betty's aunt's apartment where Rita dons a blonde wig—ostensibly to disguise herself—but making her look remarkably like Betty. It is this transformation that one film analyst suggests is the melding of both identities. This is supported by visual clues, like particular camera angles making their faces appear to be merging into one. This is further illustrated soon after by their sexual intimacy, followed by Rita's personality becoming more dominant as she insists they go to Club Silencio at 2 a.m., that eventually leads to the total domination by Camilla.<ref name="nochimson" />

'''Diane Selwyn''' (Watts) is the palpably frustrated and depressed woman, who seems to have ridden the coattails of Camilla, whom she idolizes and adores, but who does not return her affection. She is considered to be the reality of the too-good-to-be-true Betty, or a later version of Betty after living too long in Hollywood.<ref name="holden" /> For Steven Dillon, the plot of the film "makes Rita the perfect empty vessel for Diane's fantasies", but because Rita is only a "blank cover girl" Diane has "invested herself in emptiness", which leads her to depression and apparently to suicide.{{sfn|Dillon|2006|p=95}} Hence, Diane is the personification of dissatisfaction, painfully illustrated when she is unable to climax while masturbating, in a scene that indicates "through blurred, jerky, point of view shots of the stony wall—not only her tears and humiliation but the disintegration of her fantasy and her growing desire for revenge".<ref name="sinnerbrink" /> One analysis of Diane suggests her devotion to Camilla is based on a manifestation of [[narcissism]], as Camilla embodies everything Diane wants and wants to be.<ref name="ridgway">{{cite journal |last=Ridgway |first=Franklin |date=Fall 2006 |title=You Came Back!; Or Mulholland Treib |journal=Post Script: Essays in Film and the Humanities |issue=26 |volume=1 |pages=43–61}}</ref> Although she is portrayed as weak and the ultimate loser, for Jeff Johnson, author of a book about morality in Lynch films, Diane is the only character in the second portion of the film whose moral code remains intact. She is "a decent person corrupted by the miscellaneous miscreants who populate the film industry".{{sfn|Johnson|2004|p=137}} Her guilt and regret are evident in her suicide, and in the clues that surface in the first portion of the film. Rita's fear, the dead body and the illusion at Club Silencio indicate that something is dark and wrong in Betty and Rita's world. In becoming free from Camilla, her moral conditioning kills her.{{sfn|Johnson|2004|pp=137–138}}

'''Camilla Rhodes''' (Melissa George, Laura Elena Harring) is little more than a face in a photo and a name that has inspired many representatives of some vaguely threatening power to place her in a film against the wishes of Adam. Referred to as a "vapid moll" by one reviewer,<ref name="fullerbabes">{{cite journal |last=Fuller |first=Graham |date=December 2001 |title=Babes in Babylon |journal=[[Sight & Sound]] |issue=11 |volume=12 |pages=14–17}}</ref> she barely makes an impression in the first portion of the film, but after the blue box is opened and she is portrayed by Harring, she becomes a full person who symbolizes "betrayal, humiliation and abandonment",<ref name="lopate" /> and is the object of Diane's sexual obsession and frustration. Diane is a sharp contrast to Camilla, who is more voluptuous than ever, and who appears to have "sucked the life out of Diane".<ref name="love" /> Immediately after telling Diane that "she drives her wild", Camilla tells her they must end their affair. On a film set where Adam is directing Camilla, he orders the set cleared, except for Diane—at Camilla's request—where Adam shows another actor just how to kiss Camilla correctly. Instead of punishing Camilla for such public humiliation, as is suggested by Diane's conversation with the bungling hit man, one critic views Rita as the vulnerable representation of Diane's desire for Camilla.<ref name="wyman">{{cite web |last3=Wyman |first3=Bill |last1=Garrone |first1=Max |last2=Klein |first2=Andy |title=Everything you were afraid to ask about 'Mulholland Drive' |work=Salon |date=October 23, 2001 |url=http://archive.salon.com/ent/movies/feature/2001/10/23/mulholland_drive_analysis/index.html |access-date=August 17, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20090522071207/http://archive.salon.com/ent/movies/feature/2001/10/23/mulholland_drive_analysis/index.html |archive-date=May 22, 2009 }}</ref>

'''Adam Kesher''' (Justin Theroux) is established in the first portion of the film as a "vaguely arrogant",{{sfn|Woods|2000|p=208}} but apparently successful, director who endures one humiliation after another. Theroux said of his role, "He's sort of the one character in the film who doesn't know what the [hell's] going on. I think he's the one guy the audience says, 'I'm kind of like you right now. I don't know why you're being subjected to all this pain.{{' "}}<ref name="neman"/> After being stripped of creative control of his film, he is [[cuckold]]ed by the pool cleaner (played by [[Billy Ray Cyrus]]), and thrown out of his own opulent house above Hollywood. After he checks into a seedy motel and pays with cash, the manager arrives to tell him that his credit is no good. Witnessed by Diane, Adam is pompous and self-important. He is the only character whose personality does not seem to change completely from the first part of the film to the second.{{sfn|McGowan|2007|pp=205–206}} One analysis of Adam's character contends that because he capitulated and chose Camilla Rhodes for his film, that is the end of Betty's cheerfulness and ability to help Rita, placing the blame for her tragedy on the representatives of studio power.<ref name="nochimson" /> Another analysis suggests that "Adam Kesher does not have the control, he wants and is willing to step over who or what is necessary to consolidate his career. Hungry for power, he uses the appearance of love or seduction only as one more tool. Love for power justifies that everything else is forgotten, be it pride, love or any other consideration. There are no regrets, it is Mulholland Drive in Los Angeles."<ref>{{cite book |last1=Victorieux |first1=Ra'al Ki |title=XIX. Solar Sphinx. Memories of Vamp Iris Atma Ra. Woman & Romance. |date=2019 |publisher=Amazon Digital Services LLC - KDP Print US |isbn=978-1701531598 |url=https://www.amazon.com/-/es/Raal-Ki-Victorieux-ebook/dp/B07ZFZ3GLM |access-date=November 20, 2020 |archive-date=April 25, 2023 |archive-url=https://web.archive.org/web/20230425230636/https://www.amazon.com/-/es/Raal-Ki-Victorieux-ebook/dp/B07ZFZ3GLM |url-status=live }}</ref>

Minor characters include The Cowboy (Monty Montgomery), the Castigliani Brothers (Dan Hedaya and Angelo Badalamenti) and Mr. Roque (Michael J. Anderson), all of whom are somehow involved in pressuring Adam to cast Camilla Rhodes in his film. These characters represent the death of creativity for film scholars,<ref name="ridgway" />{{sfn|Sheen|Davison|2004|p=171}} and they portray a "vision of the industry as a closed hierarchical system in which the ultimate source of power remains hidden behind a series of representatives".<ref name="taubin" /> Ann Miller portrays Coco, the landlady who welcomes Betty to her wonderful new apartment. Coco, in the first part of the film, represents the old guard in Hollywood, who welcomes and protects Betty. In the second part of the film, however, she appears as Adam's mother, who impatiently chastises Diane for being late to the party and barely pays attention to Diane's embarrassed tale of how she got into acting.<ref name="ridgway" />