Mulholland Dr. (2001)

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Mulholland Dr. (2001)
  • Time: 147 min
  • Genre: Drama | Mystery | Thriller
  • Director: David Lynch
  • Cast: Naomi Watts, Laura Harring, Justin Theroux

Storyline:

After a brutal car accident in Los Angeles, California, Rita is the sole survivor but suffers mass amnesia. Wandering into a strangers apartment downtown, her story strangely intertwines with Betty Elms, a perky young woman in search of stardom. However, Betty is intrigued by Rita’s situation and is willing to put aside her dreams to pursue this mystery. The two women soon discover that nothing is as it seems in the city of dreams.

3 comments

  • David Lynch’s 2001 film Muholland Drive is a mystifying thrill ride that consistently challenges audiences with its ambitious non-linear narrative structure and superbly handled dialogue. In terms of the plot, the less said the better: a woman finds herself in the city of dreams to find that the key to a mystery lies somewhere on Mulholland Drive. What was originally intended to be a made for TV pilot, the film is left unexplained by the director also, with Lynch encouraging audiences to interpret the narrative in their own way and come to their own conclusions.

    On a technical level the film is flawless. Lynch supremely handles passionate sex sequences along with horrifying and haunting set pieces with the skill to wholeheartedly justify his Academy Award nomination for Best Director. Furthermore, the abandonment of coherence within the narrative is glued together by the well-written screenplay, also Lynch’s work, which allows audiences to always engage with what they’re seeing, even if it doesn’t make sense upon first viewing.

    Perhaps this film’s greatest triumph however is its ability to combine its technical brilliance with character that audiences feel genuinely attachment to. Undoubtedly this can be due to the performances from Justin Theroux, Laura Harring and a career-best showing from Naomi Watts, all of which add a sense of heart and realism to the twisted and uncertain world audiences are presented with.

    Mulholland Drive is an indescribable, underrated and engaging stroke of genius from Lynch, being both incredibly engaging upon first viewing, but also being so damningly inconclusive that repeated viewings are joyfully inevitable.

  • After a brutal car accident in Los Angeles, California, Rita (Laura Harring) is the sole survivor but suffers mass amnesia. Wandering into a strangers apartment downtown, her story strangely intertwines with Betty Elms (Naomi Watts), a perky young woman in search of stardom. However, Betty is intrigued by Rita’s situation and is willing to put aside her dreams to pursue this mystery. The two women soon discover that nothing is as it seems in the city of dreams.

    This is the basic plot for David Lynch’s Mulholland Dr. but really there is so much more that a basic plot cannot summarize. Mulholland Dr. is a quintessential David Lynch movie, It’s surreal, suspenseful and haunting. It’s also a movie that forces the audience to think. I endear challenging movies and this one had me completely immersed and invested in the story, thinking about every scene and even after three viewings I cannot completely comprehend it’s meaning. The film’s true mastery, lies in…

    Read Full Review Here: https://theblazingreel.wordpress.com/2015/06/06/review-mulholland-dr-2001/

  • Say what you want about David Lynch, but he remains to be one of the world’s most idiosyncratic filmmakers. Love him or hate him, his works could be strange, beautiful, and twisted at the same time. But there is no doubt that Lynch’s cinema is one-of-a-kind.

    t is difficult not to have an opinion after viewing his films. The Oscar-nominated director of The Elephant Man (1980) and Blue Velvet (1986) is rewarded with another Oscar nomination for Best Director for this film, which has since regain a newfound appreciation after frustrating viewers a decade ago.

    Mulholland Dr. could tie with Blue Velvet as Lynch’s magnum opus. Weird, horrific, and most of all, haunting, it is an experience that defies expectations. Written by Lynch himself, Mulholland Dr. could either be the most brilliant film conceived by the most bizarre of human minds, or the most useless, illogical, and downright unfathomable ever.

    The plot of Mulholland Dr. is not crucial to understanding what the director’s vision for the film is (thankfully, as I wouldn’t know where to start). Lynch takes two simple concepts of dreams and reality, and draws up a complex relationship between them. He merges them together, then dissects them, then attempts to turn them into each other.

    And if that is not enough, he confuses us further by not establishing which is which in the first place. When the dust settles (if it does), the question to ask is: Does it all make sense? Does it need to make sense?

    Curiously, Mulholland Dr. works more effectively as a film when it is left to vagueness and the bewilderment of the viewer. Apparently, it works even better when one is puzzled and comprehends the “puzzlement” as key to appreciating Lynch’s dark, twisted tale. Even if the film is picked apart and understood with clarity, it still stands firm and strong as a near-perfect piece of storytelling, one that is surprisingly without any discernible loopholes.

    The performances by the cast are generally excellent. The chemistry between the two lead actresses – Naomi Watts and Laura Harring – is outstanding and provides the film with a strong emotional core.

    Watts, in particular, makes her acting breakthrough here, with a daring performance that is perhaps only second to her career-best display in Alejandro Inarritu’s 21 Grams (2003). There is some controversy over the quite explicit homosexuality portrayed by the two leads. However, under Lynch’s assured direction, it becomes integral to the building of character relations in the “dream” half of the film, and the instigation of tragedy in the “reality” half.

    The intoxicating music by Angelo Badalamenti adds a sense of the unknown to the film, appearing to come from deep within the mystery that is Mulholland Dr., rather than as an aural accompaniment to its dreamscapes and nightmares.

    There is a noirish quality to Lynch’s film that makes it visually captivating, and atmospherically dense. There is also the feeling that all is not right in Hollywood, where the film is set, and in which it tries to satirize.

    Even though Lynch gives us a shocking climax that concludes the film powerfully, in essence, it is still incomplete. There is no ending really. In fact, it is a pseudo-ending because Mulholland Dr. works like an endless cycle filled with Lynchian ambiguity and his brand of “hallucinatory (in)sanity”.

    Each round brings one deeper into what seems like a bottomless abyss, raising questions on the temporality of reality and dreams, and the “reality” of imagination. With Mulholland Dr., Lynch has made cryptic cinema his very own and an art form, and all the better for it. This is the cinematic equivalent of the ultimate Rubik’s cube.

    GRADE: A+ (9.5/10)

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