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 intelligence and sensitivity.
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 DVD and VHS versions of the film were self-censored by Lynch for sexual content. He had an additional blurring effect added to Laura Harring's crotch in the scene where she climbs into bed with 'Naomi Watts (I)'. The blurring was requested by David Lynch himself because he disapproved of nude pictures of Harring being distributed on the Internet. 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. Talking—it'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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