Directed By: David Lynch
Starring: Naomi Watts, Laura Harring, Justin Theroux
Tag line: "A woman in search of stardom. A woman in search of herself - in the city of dreams. A key to a mystery - lies somewhere on Mulholland Drive"
Trivia: Chosen by France's Les Cahiers du cinéma as the best picture of the decade
Many of Mulholland Dr.’s detractors, and even some of its fans, have been frustrated over the years by the film’s seemingly incoherent story. Characters prance in and out of the picture with little explanation, and entire sequences will have you scratching your head in a vain attempt to make sense of it all. Yet if you can abandon all preconceptions of what a movie should be, and instead soak in what this motion picture has to offer, Mulholland Dr. will leave you mesmerized.
Originally intended as a pilot for a new David Lynch television series (a la Twin Peaks), Mulholland Dr. takes us to the dream-like world of Hollywood, where illusion exists with no tangible reality to support it. A woman with amnesia (Laura Harring) is convinced her life is in danger, but has no idea who is after her, or why. She meets up with a fresh, young newcomer to Tinsel Town named Betty (Naomi Watts), a bubbly innocent who wants to be an actress. Betty tries to help this confused woman (who thinks her name might be Rita) unravel the mystery of her identity. Throw in a tempestuous director (Justin Theroux) whose next picture is being manipulated by the mob, and a local restaurant with a monster living in its back alley, and you have a film noir the likes of which only David Lynch could have conceived.
Mulholland Dr. will grab you with it’s spellbinding pace; the persistent, deliberate tempo of each scene. Deep-flowing tension and explosive emotions run just beneath the surface in the segment where the director is ordered by two crime bosses (Dan Hedeya and Angelo Badalamenti) to cast a specific actress in his next movie, which the director flat-out refuses to do. Melancholy bleeds from the screen when Betty and “Rita” make a late-night trip to the Club Silencio, where they originally hoped to find some clues, but instead witness a mystifying all-Spanish rendition of Roy Orbison’s hit song, Crying. There’s nothing about either of these two sequences that would lead us to believe they belong in the same movie; neither appears to have any relevance to the other. Yet it’s the mood of each one, their calculated tone that drives not only these scenes, but every single scene in Mulholland Dr.
Director Lynch has assured us there are clues, placed conspicuously throughout the film, to help us figure it all out, and I’m inclined to believe him. Discovering what they are, however, simply isn’t a priority. If I never uncover the answers, I will still return to Mulholland Dr. For me, it’s better than a work of cinematic art; it’s dozens of works, played out dozens of times over. Make no mistake; your trip along Mulholland Dr. will not be an easy one. Yet if you’re prepared to allow your mind to wander to a place where anything can happen, where logic takes a back seat and leaves the driving to pure, hypnotic style, you’ll find Mulholland Dr. an unbelievably satisfying journey.
Mulholland Dr. is indeed a puzzle, but unlike most puzzles, this one looks just as good lying in pieces on the floor.