On this episode we plot the perfect Hitchcockian murder with writer/director Christopher Presswell and talk about his homage to those films with his new movie, CANDLESTICK. This inspires a look back at two of The Master's works where a perfect murder is planned with the added benefit of other parties helping to do the dirty work. Those two older films are STRANGERS ON A TRAIN vs. DIAL M FOR MURDER. Emily Mackay of Movie N' Mayhem joins me to debate those great works of art, and of course, another round of Movie Star Hot or Not.
MULHOLLAND DRIVE is a complex and surreal film directed by David Lynch, known for its non-linear narrative and dreamlike sequences. The ending is open to interpretation and has been the subject of much debate among viewers. Here's a breakdown of the ending: Diane's Dream vs. Reality: Throughout the film, there are two main narrative threads: one follows Betty/Diane's dreamlike experiences in Hollywood, and the other delves into Diane's harsh reality. The ending reveals that the majority of the film has been a dream constructed by Diane Selwyn, a failed actress, as a means to escape the guilt and pain of her actions. Betty/Diane's Descent into Madness: Betty, played by Naomi Watts, represents Diane's idealized self—a hopeful and innocent aspiring actress. However, as the film progresses, it becomes clear that Betty's story is unraveling, and her identity begins to merge with Diane's. This culminates in the revelation that Betty is merely a construct of Di...