After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
In 1941, New York intellectual playwright Barton Fink comes to Hollywood to write a Wallace Beery wrestling picture. Staying in the eerie Hotel Earle, Barton develops severe writer's block. His neighbor, jovial insurance salesman Charlie Meadows, tries to help, but Barton continues to struggle as a bizarre sequence of events distracts him even further from his task. Written by
Scott Renshaw <firstname.lastname@example.org>
I cannot believe that there isn't a single negative comment on here about this film. I like odd films. I even like the Coen Brothers. But this movie was a waste of time. Those who like it, I think, may be suffering from a case of "The Emperor's New Clothes..."... ie "If I find depth in this film I can establish my intelligence." No one dares call out, like the little boy in the crowd who declares the emperor is naked- "this film was a mess!" I like films with symbolism. But this film was full of ambiguous symbolism. It reminds me of people at my church that can make symbolism out of everything... twist it to be whatever best supports their mood. If you are looking for something to twist, to mull over then this film is for you. By the end of the film, you don't know if ANY of the characters were real. And you'll never know. There is no fight-club-ish moment of truth that makes you want to rewatch the film. This was the least satisfying mind-job I've ever had. If you want to feel smart and insightful, then watch this movie. I would recommend fast forwarding over any part where a single violin can be heard. Don't slow it down til dialogue resumes. As a matter of fact, fast forward over the whole film. Watch some flies buzz around and make some symbolism out of that. It would be just as productive.
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