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
Luigi Castigliane (the mobster who spits out the espresso on a napkin) is played by the film's composer, Angelo Badalamenti. See more »
When Rita is walking to after from the accident the cut on the right side of her head disappears and reappears. Also, even though the blood is obviously dry, the blood pattern is completely different each time. See more »
What are you doing? We don't stop here.
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Credits have the movie director's name as 'Bob Booker' (not 'Brooker' as we hear). Furthermore, many of the characters' names are simply not mentioned at all during the course of the film (Billy Deznutz, Joe Messing, Bondar, etc.) but their character's names are all listed in the closing credits. 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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