Directed by:
David LynchScreenplay:
David LynchCinematography:
Peter DemingComposer:
Angelo BadalamentiCast:
Naomi Watts, Laura Harring, Ann Miller, Dan Hedaya, Justin Theroux, Brent Briscoe, Robert Forster, Katharine Towne, Lee Grant, Scott Coffey, Billy Ray Cyrus (more)VOD (2)
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Naomi Watts (Birdman, Funny Games) gives a career-making performance as aspiring actress Betty, who after arriving in Hollywood, befriends an amnesiac woman (Laura Harring) and tries to help her recover her memory. The film establishes these characters but then proceeds to subvert any certainty about them, instead offering a swirling atmosphere of increasing surrealism. (Independent Cinema Office)
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Reviews (14)
A film about the purity and vulnerability of the human soul, about life’s dreams and the desire to fulfil the expectations that are placed on us. A film about the fear of touching the ideal, about disappointment, desperation and hatred, about the ugliness of the world outside (specifically Hollywood in this case). This film doesn’t have one clear point, there is no “right key” to it. Mulholland Drive is a mosaic of multiple ideas that could have been put across in a much simpler, but not as interesting and compelling way. The number of connections in the film that tell you something depends on your personal experiences and your awareness of their place in your life. A simultaneously cruel and beautiful soap opera.
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As a series, it might not be bad. Yet as a standalone film, it rides the wave of films with unreliable narrators, and that perpetual dreamlike atmosphere and the combination of Lynch and his favorite films just makes for a new collage. However, the latent Sapphic themes and the crush on the Paramount gate are elements I’m always interested in.
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This is either a masterpiece or a bad trip, but an excellent and unusual experience in any case. Also, since my first encounter with Lynch, I have learnt how to watch his films (to accept that most of the action doesn’t take place in the real world), so this time I’m convinced that I know what this one is roughly about, and it actually begins to make sense in the last half hour. Basically, it draws attention to feelings and conditions that are common in a person’s daily life, even if they are not always aware of them: desire, disappointment, pain, escape, revenge. PS: Or it’s something completely different.
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I didn't, and probably never will, fully understand. After the completely direct and purposefully comprehensible Elephant Man, I saw David Lynch's second feature film, which completely breaks boundaries in terms of the level of comprehensibility. The first two-thirds were somewhat interpretable, but the last twenty minutes completely reversed all my thought processes, and it was only at the last word "Silencio!" I said: "Oh shit!". I've never been so confused and conflicted, and in fact this may have been one of the director's intentions. Why explain everything at the end, when the viewer at least has something to think about. All in all, a very weighty film that, along with the premise, excels in the acting and the wonderfully gloomy and mysterious music.
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A psycho(il)logical and strange picture that is hard to grasp... So, in fact, the type of classic that we are used to getting from Lynch. If it had ended twenty minutes earlier, this would have been maybe the most graspable Lynch movie ever, but at that moment is breaks into the most bizarre movie ever. Lynch on his best film-making (not series-making!) form.
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