But, while Mulholland Drive might often be described as his “puzzle box” film (almost literally), Lynch reserves a moment where emotion matters more than playing with semiotics. She collapses towards the end of the song, but the song continues to play as she is dragged away.ĭavid Lynch is no stranger to abstract imagery his films often feeling like they put emotion to the side for formal experimentation (though, one could argue that many of his films evoke a singular kind of terror, such as the fear of fatherhood in Eraserhead). “It is an illusion.” And then, as Rita and Betty sit in the balcony, Rebekah Del Rio, wearing deep red lipstick and a tear made out of glitter, walks onto the stage to sing “Llorando”. If we want to hear a clarinet…” The emcee begins to introduce sounds and instruments and players performing, but not really performing. “This is all a tape recording,” the emcee announces. Waking up from a dream, where the blonde wigged Rita (Laura Elena Herring) and Betty (Naomi Watts) head to the mysterious Club Silencio. Leave it to Rebekah Del Rio to strip the song down to its purest form in a Capella cover in Spanish (titled “Llorando”) for Lynch’s film to bring out the song’s emotions in a manner Orbison did not. It has that signature echo of falsetto from Orbison.īut, the blaring quality of its orchestrations seems a bit much. ![]() Sounding not unlike much of the pop music of the era (heavily orchestrated, many an instrument sort of undermining the lyrics, in this writer’s personal opinion), it is Orbison’s swoony voice, paradoxically frail and strong that gives the track its power. Roy Orbison’s legendary song “Crying” was originally written by Orbison and Joe Melson for the album of the same name, released as a single in July 1961. “Crying”, as well as emotion in general, transcends the initial barriers of accessibility not only to the film itself, but reveals the indescribable power of the cinema. Infamous for his abstract images, enigmatic narratives, and punishing sound design, master auteur David Lynch took a step back and let passion, sadness, and tears do the work in a scene in his iconic Mulholland Drive. ![]() We’ll explore how a piece of music fits within the context of a film as a whole, and we’ll cover the moments in cinema that were music to our eyes and ears. Songs in the Key of Cinema is a bi-weekly look at the use of songs in film.
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