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.
The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
A bright-eyed young actress travels to Hollywood, only to be ensnared in a dark conspiracy involving a woman who was nearly murdered, and now has amnesia because of a car crash. Eventually, both women are pulled into a psychotic illusion involving a dangerous blue box, a director named Adam Kesher, and the mysterious night club Silencio. Written by
The set of reels that was distributed to the movie theaters included a computer-written, photocopied note from David Lynch himself giving special instructions to the projectionists worldwide. Specifically, he didn't want the movie to be centered vertically on the screen but rather to "allow more overhead" as the term in projectionist's slang, that is to let the top part of the frame be more visible than the bottom part. This is because the film was originally made for TV, with an aspect ratio of 1.78:1 (or 16:9) in mind - without the projectionists' manual correction, the aspect ratio of the theatrical release (1.85:1) would have resulted in heads being cut off at the top of the silver screen. Lynch also asked to raise the volume of the theater's sound system by two decibels when the film was playing. The note ended with the words "Your friend, David Lynch". See more »
When the camera dollies back from the four vocalists in the recording booth, the two VU (volume unit) meters on the control panel are at zero level indicating that no sound is being recorded or heard on the engineer's headphones. See more »
What are you doing? We don't stop here.
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The only time we see the full title spelled out is at the end of the end credits; during the opening credits there is only a street sign that says "Mulholland Dr". See more »
This is why this movie is brilliant... actually... never mind.
Recently, I read an excerpt from a book by Dennis Lim called "David Lynch: The Man from Another Place." In it, the author mentions how much Lynch despises interpretation of his work. He writes:
"Writing about David Lynch, it can be hard not to hear his voice in your head, protesting the violence being done to his work. 'As soon as you put things in words, no one ever sees the film the same way,' he once told me. 'And that's what I hate, you know. Talkingit's real dangerous.' Not for nothing does "Mulholland Drive," the Lynch movie that has invited the most fervent flurry of explication, end with a word of caution: 'Silencio.'"
This reminded me that 11 years before this edit I had written this very review on IMDb, which contained an interpretation of the film's plot. I've decided to remove all of that. Whether or not you are satisfied with a particular interpretation of the plot should be irrelevant to your enjoyment of the film. I enjoyed it before I had that satisfying interpretation. And I'm hoping that I can clear it from my mind the next time I watch "Mulholland Dr."
I will leave one thing from my original post. A quote by Peter Greenaway. "I would argue that if you want to write narratives, be an author, be a novelist, don't be a film maker. Because I believe film making is so much more exciting in areas which aren't primarily to do with narrative."
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