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What are some movies that left you so confused at the end that you couldn't really figure out what they were about?

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2001: A Space Odyssey.

1 ( +3 / -2 )

Totoro, Cars, Cats and Dogs

1 ( +3 / -2 )

Lost Highway, Eraserhead

8 ( +8 / -0 )

The Matrix. When I first watched it as a grade school kid, I couldn't understand what the movie was meant to convey and only understood it a decade later.

5 ( +6 / -1 )

Fast and Furious,Tokyo Drift.

0 ( +2 / -2 )

Ponyo. The only Gibli movie I have disliked so far.

-2 ( +1 / -3 )

Inception. And many of Keanu Reeves' movies... Hehehe...

2 ( +4 / -2 )

'The Fountain' (2006) - Hugh Jackman

Still scratching my head...

S

3 ( +4 / -1 )

Salò, or the 120 Days of Sodom.

-1 ( +1 / -2 )

Son of Sam, Angel Heart, Velvet underground...

But the reason is that I only watch them half drunk or half asleep....

2 ( +2 / -0 )

The Bible (1966)

0 ( +1 / -1 )

The Yellow Sea

I saw the Devil

The Wailing

And Japanese movie 1977 House

0 ( +1 / -1 )

I second Eraserhead. Absolutely baffled by the end.

0 ( +2 / -2 )

Barbie

-3 ( +1 / -4 )

Naked Lunch

Fight Club

The English patient

-2 ( +1 / -3 )

Vanilla Sky

1 ( +1 / -0 )

Naked Lunch

Fight Club

The English patient

All adaptations from best-selling novels. Deeply revealing.

0 ( +1 / -1 )

Not just the end but the entirety of Mulholland Drive. I've seen it twice and still haven't got the foggiest what it's about.

0 ( +1 / -1 )

Lawrence of Arabia. After watching it eight times, and doing a lot of research, I now understand it completely. Great film.

-1 ( +0 / -1 )

It, and most Japanese cartoon moviez.

-1 ( +0 / -1 )

purple_depressed_bacon

Not just the end but the entirety of Mulholland Drive. I've seen it twice and still haven't got the foggiest what it's about

The big hint is at the very beginning, right at the end of the opening credits.

-1 ( +0 / -1 )

purple_depressed_baconFeb. 16  06:36 pm JST

Not just the end but the entirety of Mulholland Drive. I've seen it twice and still haven't got the foggiest what it's about.

..

garypenFeb. 22  11:33 pm JST

purple_depressed_bacon [ Not just the end but the entirety of Mulholland Drive. I've seen it twice and still haven't got the foggiest what it's about ]

The big hint is at the very beginning, right at the end of the opening credits.

Mulholland Drive. A masterpiece and one of my favorites.

(one of my old posts here on JT:)

… I'll admit that ( especially if you're watching it for the first time ) it can be pretty confusing, but 

( WARNING! )

( SPOILERS! )

things get easier after we realize that she was dreaming. Then it's just putting the little pieces together and separate the "dream" from "reality". Essentially, the movie is about Hollywood and broken dreams.

For those of you that ( probably watched it recently and ) need some help in understanding the movie; some key explanations:

"The dinner", which is the beginning of everything.

The characters here will be incorporated into the paranoid fantasy of Diane's 'romanticized Hollywood' dream: The director talking about the pool man becomes the director in her dream, also with Diane's idea of the pool man. The fat man watching her as she drinks her coffee becomes the gangster who doesn't like his espresso. Coco, the director's mother, becomes her landlady. The cowboy-hat guy becomes the cowboy-hat Hollywood power figure. The girl who kisses Camilla becomes the "Camilla Rhodes" in the dream part. And of course, Camilla, her ex-lover, becomes the dependent, loving person Diane wants her to be: "Rita".

About the ( strange ) "Espresso scene":

( plausible explanation )

The reason this was in Diane's dream was because during the real life dinner party, when Diane hears Adam's news that his divorce resulted in him getting the pool while his wife got nothing, the coffee that she's drinking tastes bad to her in light of this news, and she goes to look away. (In a traumatic moment like this, a person's brain can memorize anything) And who does she see? The guy that is going to eventually turn up in her dream as an Italian mobster, who ruins all of Adam's plans for his own movie. In this way, Diane manages to get revenge on Adam in her own dream world.

About the blue box and the club Silencio scene:

Inside the box, Diane has hidden away all her anguish, hysteria and depression – the components of her real life. Locking the box would mean hiding the reality, and constructing her fantasy. So when Rita opens the box, the dream falls apart. The blue box appears in Betty/Diane’s lap at the end of the opera. This is the culmination of her fantasy. Or rather, it signifies Diane/Betty waking up. The magician is forcing her to face the truth; to deconstruct her fantasy, to open the box and let the harsh truth come out. In this "Silencio" club scene, when Diane realizes she is dreaming, she shakes uncontrollably. This means that on the edge of reality/waking, her subconscious could no longer repress her memories of murdering the woman she loved. The box can be seen as a symbol of Camilla's death and inside it Diane's guilt, which she kept locked up by her fears (the bum). Once Rita/Camilla unlocks it, the dream-cowboy says, "It's time to wake up."

( the blonde wig: the dream begins to break down once Rita dons the blonde wig, making her look like Betty. This is a way of showing that Diane is beginning to realize that "Rita" is just a fiction of her own mind. Diane IS "Rita", hence their resemblance in the dream's waning moments. )

( at Winkie's ( which is where Diane hires the hitman to kill Camilla ), the waitress's real name, Betty, is the name Diane takes in her dream persona. In Diane's dream, the waitress becomes "Diane". )

The ending:

As shown on her face when she wakes, Diane is forced to face the fact that it was all a dream, the sadness of her own life, and the guilt brought on by having her ex-girlfriend murdered. Diane's neighbor knocks on her door, which is what actually woke her up, to tell her there have been detectives looking for her, additional confirmation that there has been a murder. She starts reflecting on how she came to be in this position, from Camilla's coolness to her flirtations with Adam to the unforgivable humiliations at the party. In her kitchen, Diane says excitedly, "You've come back", to "Camilla" before quickly realizing it was just another hallucination/fantasy. The final breakdown / hallucination starts with the bum dropping the open blue box (the murder realization), and then comes the crushing guilt. The escaping little old people (the ones who are possibly her parents or grandparents) remind her of how far she's come and how much she's changed and also how she couldn't possibly face those people again, knowing what she's done. (When we first meet Betty, she is saying goodbye to this old couple, on to a better, brighter future in Hollywood.) As her guilt and the reality of what she's done overwhelm her (and with the hallucinatory breakdown of the old couple attacking), she shoots herself in the mouth.

...

Naomi Watts said in an interview: "Diane is the real character and Betty is the person she wanted to be and had dreamed up. Rita is the damsel in distress and she's in absolute need of Betty, and Betty controls her as if she were a doll. Rita is Betty's fantasy of who she wants Camilla to be."

-2 ( +0 / -2 )

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