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 façade, there is revealed a person of kindness, intelligence and sophistication.
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
Director David Lynch initially resisted Studio Canal's offer to provide additional funds to complete the Mulholland Dr. (1999) TV pilot as a feature film. Lynch's battles with ABC network executives had left him with a negative feeling about the project, and he felt he had run out of ideas for the storyline. When he finally agreed to revisit the film, he found that all the sets had been destroyed, much to his horror, and all of the costumes and props had been released by ABC (normally all sets, props and costumes for a possible TV series are carefully cataloged and stored for future use). Lynch claimed this setback actually proved a blessing in disguise, however, when it finally generated new ideas about how to proceed with filming, and he was able to come up with a satisfying conclusion to the story. See more »
The Sony-brand telephone that Betty and Rita use to call Diane Selwyn has separate buttons for 'on' and 'off' functions. However, Betty presses the 'on' button to turn the phone off following the call. 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 »
The theatrical version contains 26 minutes of newly shot and restored footage; the TV version of Mullholand Drive, shot in 1999, originally ran at just over 100 minutes and ended at Betty's apartment after helping Rita cut her hair and put a blond wig on; an additional deleted scene had Betty running out of the apartment to the roof where Rita joined her and both of them looking out over Los Angeles where Betty says "I have arrived" and Rita saying the same. The final shot in the TV pilot version has the mysterious bum sitting in the alley behind Winkie's Restaurant and holding the mysterious blue box. New footage shot for the theatrical version includes:
The theatrical ending where David Lynch goes back and tells the story of Diane; in the TV pilot, it ends where Rita (Camilla) opens the mysterious blue box.
An additional 6 minutes of expanded 'reshoots' that Studio Canal had David Lynch shoot for the theatrical release.
Bring It On Home
Written by Willie Dixon
Performed by Sonny Boy Williamson
Courtesy of MCA Records
Under license from Universal Music Enterprises
Published by Hoochie Coochie Music
Administered by Bug Music, Inc. See more »
love lynch, or hate lynch, admit he's a master
"twin peaks" and "blue velvet" have always been two of my favourite pieces of film-making, and even though past films by lynch have been slightly disappointing for me they have always been worth watching a number of times. to be pretentious, lynch can be like a good wine - he must be savoured and mulled over. but in the end you must make up your own mind about what you have seen, for lynch never gives you the full answers.
many people will walk out of "mulholland drive" possibly wanting to throttle themselves over the mind-bending visual jigsaw puzzle that has just unfolded before them. but there is a twisted logic to this film, you just have to look for the clues. betty (naomi watts) arrives in hollywood, doe-eyed and in search of stardom. she then finds an amnesiac in her bathroom who has escaped from an attempted murder on mulholland drive. together they try to uncover the secrets behind the amnesiac's life. this all leads to a club called silencio, where a blue box will reveal all. and that is when the film throws everything out the window. people we thought we knew are entirely different people altogether... is it a dream? a reminiscence about life's previous escapades? you will either love this film or hate it. david lynch always draws such extreme reactions from his viewers. but as his universe itself is always about extremes, it is fitting that his films provoke such reactions.
It is best to look at this film thematically, rather than as a straight-forward narrative. and appreciate the fact that lynch is a film-maker who will still let you draw your own conclusions. he has had many imitators as of late, particularly in "vanilla sky", where a mind-bending film decides to give you all the answers in the last rushed five minutes, and you will probably forget about that film as soon as you walk out of the cinema. mulholland drive will haunt you.
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