::READERS REVIEWS::

Mulholland DR. - I watched this movie twice in a row and I think i get it. The first half makes sense and is very enjoyable but the second half goes down a little and gets confusing.

I'm Not so Sure of its Greatness - Lynch is certainly in control of this film from every angle, and it is a carefully crafted noir that is haunting, hypnotic, and wildly inventive. I understand that is about Diane's dream and its fractured nightmare logic, but it seems to be more about pure mood than anything else. Lynch is certainly a master of evoking a sense of paranoia and fear, but the film, like many of his others, left me thinking, so what? I've seen it three times through and there are certainly clues to its oneiric logic, and it doesn't really "cheat" the viewer with contrived twists out of left field (not a shaggy dog story). But, that being said, it comes off as more of an expert exercise than an unforgettable experience. Again, the exercise is handled skillfully, but ask yourself, so what? Is it another example of excessive style over substance? Do we ever really care about these characters? And if some of us eventually do, does it not come long after having to rummage through all of Lynch's tedious individual scenes, some with characters and narrative threads that never go anywhere? There are other stylistic exercises full of nightmare logic, like Scorsese's "After Hours," that work wonderfully; something about "Mulholland Drive" just keeps me from jumping on the bandwagon. I sometimes think Lynch's film are dark in-jokes told for exclusive kicks, irrespective of the audience. There is a gentleman on youtube who I've heard explain otherwise impenetrable films like "Lost Highway" with recondite discussion that seems both post-modern and quasi-spiritual. If what he expounds is truly Lynch's philosophy, than I fear only Lynch and coffee shop regulars interested in esoteric academia will ever know what exactly is going on in some of these films. Don't get me wrong, I find 'Mulholland Drive" much more fascinating than both "Lost Highway" and, I'm sorry to report, "Blue Velvet." The former seems incomprehensible, and the latter needs to decide what kind of movie it wants to be (I may be one of the few who agree with Ebert on Velvet, even though I disagree with him on Mulholland). Sometimes I feel that directors jettison those parts of a movie that are most taken for granted--like story, plot, etc.--for the sake of experiment (not always a bad thing), occasionally making a movie entirely inaccessible to an audience. Obviously, by the explications provided here, there is an audience adept at "reading into" Lynch's work. I'm glad. Maybe they will have to let me in on the Lynchian mystery.

Amazing - Like life, this film gives us a swirling soup of experience from which we have to construct a meaning. That the meaning we arrive at is by no means predetermined & unambiguous, as well as the fact that we first have to undo the macrame Diane has woven from the strands to justify herself makes this gem of a film linger in the mind.

While many reviewers seem to throw their hands in the air & claim that this film is not meant to have any real coherence, just atmosphere, I disagree. There are certainly thought-provoking ambiguities, but there is also deep structure that keeps us enthralled by the story. The hero arcs, just not happily.

There seems to be some common confusion about a number of the scenes & characters. Here are my interpretations of some of the most frequently asked questions. Beware of spoilers!:

This film has been called a dream by several reviewers, but to me it's more just the way the mind works all the time, constantly mashing things up, rewriting events until a final version of history is reached, usually on reflection & in consultation with others. Especially if--like our protagonist--you are wigged out about broken love, probably on drugs, & seriously depressed about your career. For instance, how many times have you worked out this kind of detail with your significant other?: so, who was that person at the party? Oh, I thought he was her brother. No? Her boyfriend? Didn't she work for Xerox? Oh, it was Kodak. Wasn't that the other girl? I thought he had dark hair. His name is Dave, right? No, John...etc. Now turn that process into pictures & it looks a lot like Mulholland Drive.

How do we know that Diane was involved in prostitution?

Did you notice that the prostitute in the scene with the hitman [pimp?] matched the general description of Diane, i.e. blond, passive, young? Did you wonder how a struggling actress might have known a hitman to call to bump off her ex-lover? In fact, there are a lot of blonds in this movie, & they all seem to represent Diane--either her delusional ideals or her reality.

Why is Camilla/Rita such a darling of the mafia dons who are pushing to get her in the lead role of "The Sylvia North Story"?

I found the power-brokers to be far more symbolic than real. They were Greek Gods, dispensing favor capriciously, spurning sincere burnt offerings [espresso, I love it!], & selecting favorites more or less on whim. At least that was Diane's perception of things, although the audition scene clearly suggests that Camilla's acting chops & screen sexuality were much stronger than Diane's, even though we saw the scene as though Diane was the actress. The theme of Greek mythology was hit on in the opening scene as well, as the man in the coffee shop acts out a convincing oracle, & later, as the Lee Grant character predicts impending doom to deaf ears like Cassandra. There's also something vaguely Odyssean about the pool guy & unfaithful wife grappling with the indifferent giant.

How do we know that Aunt Ruth was dead in real life?

Diane tells us at the dinner party. Also, where else would a struggling actress have gotten a large amount of cash to slide across a table to a hitman if not from that inheritance? Maybe having spent her last resource helped push her over the edge.

Why did Rita feel compelled to cut her hair after the "Silencio?"

Diane was putting things back together in her mind, realizing the consequences of her actions, separating the reality of herself from the fairytale version conflated from her initial naivete & inflated perception of her talent, talent that was actually Camilla's. The two characters beginning to look alike demonstrates this recognition, as does the final disappearance of Rita.

What was the purpose of the older couple she met on her flight into Hollywood & at the end of the film?

To me, the old couple seem to symbolize hope--the hope of a naive young actress just arriving in Hollywood, the hope that was the only thing that Pandora managed to hold in the box after she released all ills on humanity [Greek mythology again], & the hope that escaped that blue box when it was dropped in the brown paper bag by the beast behind Winkie's near the end [perhaps also a comment on Diane's substance abuse]. The torment of failed hope in the form of the fluttering hands of the old couple was what finally caused Diane to pull the trigger.

In addition to the repeating Greek mythology theme, something I haven't heard other reviewers mention is how blatantly referential the imagery of this film is to Hollywood. Diane's early outfits [& hair] look like they were done by Edith Head for a Hitchcock film; the early scenes of the dance contest look like Annette Funicello will appear any second; Cowboy looks like a live-action Howdy Doody; & actors seem to have been chosen for their industry resonance: Ann Miller, Chad Everett, Billy-Ray Cyrus.

Open the box and let it eat you alive... - Here's the deal; David Lynch is an acquired taste, so much so that many, many people will never acquire the taste needed to appreciate him. The best thing about Lynch is the fact that he doesn't care. From the very beginning, with his BRILLIANT debut film `Eraserhed', Lynch proved that he has a unique visionary style and point of view that he is not willing to bend or compromise just to receive commercial success. `Mulholland Drive' is about as unconventional a film as you can get, and because of that many people are scared of it or turned off by its complexity.

Don't be afraid.

What I admire about Lynch is that he is very willing to use his talent to make a statement, no matter how bold it may be. In `Mulholland Drive', Lynch makes many statements and layers them with enough mystery to keep the audience baffled from beginning to end, which only adds to the importance of a film like this. It will keep you guessing, which will keep you talking, which will keep you interested.

Some have claimed this to be boring. I think they need to watch it again.

Part of me is chomping at the bit to get into just what this film `means', but I really fear that someone who has yet to experience this film will find my rambling to divulging and may in turn feel the need to watch this film null and void. There is so much to say about this film but what can you say without giving away too much of the experience.

The film has been dissected numerous times on this site.

The basic plot is this:

Betty is a young and beautiful aspiring actress who moves to Hollywood and is currently staying in her Aunts home while she is away. After a car accident (portrayed in the films open) a young and beautiful woman named Rita shows up, cursed with amnesia, and Betty decides that she is going to help Rita regain her memory. Rita only remembers two things, `Diane' and `Mulholland Drive'.

Unlocking those secrets is going to take you places you never imagined.

I idea of mirrored dreams is very prominent in this film, for everything you think you see is a stark contrast to the realities the final 30 minutes unveil to us. Exact scenarios and situations appear reversed as Diane's identity is revealed and her life is examined for us. What we are left with is a harrowing discovery that may leave questions unanswered for the `first time viewer', but those questions are easily answered upon repeat viewings. This is a film that really demands your time in order to appreciate it. Lynch feels that it must be seen in one viewing, not paused or stopped for any reason, and I concur, for taking yourself away from the film for merely a moment can cause you to leave the world Lynch is drenching you in. There is a moment, in the film, where a woman sings the song `Crying' and that moment is really the crux for the entire film, explaining so much while seemingly saying so little.

When you watch the film for a second time it will make so much more sense, I promise.

But, truth be told, it is the mystery that makes this film so startling. The interpretations of this film and the personal feelings towards Diane's predicament really play heavily into how much you will or won't accept the film. Your love and hate will depend entirely on your willingness to explore the many twists and turns presented in this film. If you like your entertainment quick and easy then stay away, but if you enjoy taking a film apart, frame for frame, in order to uncover tiny trinkets of deeper meaning then this film will fascinate you.

Oh yeah, and Naomi Watts is a revelation here, and don't let anyone convince you otherwise!

Naomi Watts' Performance is Unbelievably Impressive - Mulholland Drive is creepy as hell and beautiful to look at.

Some will enjoy the music, the colors, the lighting, the pacing etc.

Others will enjoy Naomi Watts incredible performance where she has to convey the full spectrum of human emotion.

Think about it...the first part of the movie she plays a perky, naive idealist and by the end of the movie she is equally impressive as a burnt out, suicidal depressive. Anyone who has ever acted can tell you how hard that is to do in the same film.

This is one of Lynch's best films. It is filled with unforgettable scenes (Club Silencio, The audition, The casting meeting with the director and the mobsters).

This is one of those films that will stay in your head.

the best mystery ever

Not good... GREAT! - I don't think I am going out on a limb in saying David Lynch is one strange fellow. You only have to watch "Eraserhead" to confirm my belief.

"Mulholland Drive" is the best of Lynch's strange movie making efforts. However the viewer must give this work their full attention from opening to end. It is one of the few movies I ever watched that demanded an immediate second viewing, as I did not understand it fully until the very end which was, for me, a Eureka moment.

I consider this movie "great" because it has all the elements that in my opinion make it worth watching. It grabs ones attention at the very beginning and holds it throughout. Mr. Lynch never talks down to his audience, on the contrary he assumes the viewer is a bright, intelligent, inquisitive person and he constructs his entertainment in such a manner as to tax that intelligence and reward the curiosity. Additionally this movie is simply great fun. In trying to figure out what's going on and why, the viewing time of 2-hours and 27-minutes, passes like the speed of light. I don't think I changed my body position once the entire time.

I can understand why so many either love or hate this movie. If your entertainment time consists of mostly situation comedies on TV it would be best to avoid David Lynch. If on the other hand, heh, heh... you are in for the consummate movie going treat.

Top Five of All Time - Steve's synopsis below is right on the money. This should be obvious by the second viewing. Perhaps now we can put discussions of the plot to rest and just enjoy what in my opinion is one of the top five movies of all time.

Mulholland Dr. - Mulholland is my fav. film by David Lynch. I got it a few days afer my film buying spree. I have no idea how Mulholland Dr. got stuck in my head and why i really wanted to buy a copy of it but I guess i got good taste that works on it's own!?
I watched it twice in a row the day i got it. I love it. It's interesting and intense. Naomi Watts and Laura Elena Harring worked well together and made the movie work. I loved the song "I've told every little star" and my friend loved "Llorando" ( crying ). Mulholland was great un until the end, when they find the key that fits into the blue box. From their, the movie enters a different direction. It gets confusing and thats also why i watched the film twice, to better understnad what was going on or really going on. I think the ending is what you want to make it. Like it's an open ending, it could be anything. But that didn't stop me from enjoying the film. It's great but i wish in a way it could have just ended normally instead of taking some strange turn, like a horror movie that can't just end, no, it has to have some scary ending moment or whatever. Anway, if you like David Lynch films, then you will like Mulholland Dr. If you don't like David Lynch, i'm sure you'll still like the movie so watch it.

Why it Has No Chapter Skips - Watched this movie with my Creative Writing teacher in school, found it amazing how deeply intellectual it was, etc..

I was reading all the bad reviews...most of them complained that you can't do chapter skips...

To all of you who gave it a bad review for that reason, our Creative Writing teacher told us it was because Lynch asked the DVD to have no chapter selections. It was his desire to have a person sit through the entire movie all in one sitting. It was intentional, people...not a bad edition.

Surrealism for morons - ...or maybe the endless wet dream of a drooling 14-year-old. Whatever it is, I feel bad for everyone involved except Lynch who should receive a well-deserved retroactive retirement.

Edited Copy !?! - I think my copy has been edited! In the scene where Laura Harring drops her robe, her body has been brush faded, so that there is only flesh tone where her bush would be. I don't think it was like that when I first saw it.

Sorry it took me this long to see this film - It was a great movie. My wife and I didn't really know much about it, just been told many times to see it. We "figured it out" in one viewing (spoiler: the first half of the movie is a dream, she's jealous, etc). The bad reviews here are a real ego boost for us, lol! The more passionately written ones are the best. Funny how much people will hate something they are too stupid to understand. And no, just getting the plot doesn't count as 'understanding' any piece of art. Learn to appreciate subtlety because it can conceal a great bit from the uncurious.

Should Lynch fans be excited? Yes. - When I first heard that David Lynch was turning his rejected television pilot into a movie, I was a little skeptical. I thought it would be like the pilot of Twin Peaks that they was shot for release in French movie theaters. Anyone who has seen it knows what I'm talking about. They take the greatest pilot of all time and try to wrap it all up in three scenes. It's pretty bad, but at least it got Lynch to create The Man From Another Place.

David Lynch added the end scenes on Twin Peaks because of a deal that was written into his contract. Thankfully he wanted to finish Mulholland Drive properly. Instead of adding three scenes, he was given seven million dollars to flesh out the ninety-minute pilot into a two-and-a-half-hour movie.

The result is getting David Lynch some of his best reviews since Blue Velvet. Words like masterpiece and brilliant are being thrown around. Even Roger Ebert, who hates all of Lynch's films, gives it a four star rating.

The movie is broken down into several stories. First off we have a limo that is driving on Mulholland Drive, with the license plate of 2GAT123. In the back of the limo is a woman. The driver stops the limo, pulls out a gun, and makes the woman get out of her car. Then some rowdy teenagers get drunk and crash their jeep into the limo. After the dust settles the woman is only one left alive, but she has amensia.

The woman, frightened, looks for shelter. She sneaks into an empty apartment, and sleeps there. The apartment the woman sneaks into belongs to an movie actress. The movie actress leaves for Canada and gives her apartment to her young niece Betty.

Betty played by Naomi Watts is a young woman who just arrived in California and dreams of being a big movie star; she would rather people recognize her as a good actress, but the trick is to be both.

Anyway, Betty finds the woman in the bathroom shower. Betty thinks the woman is a friend of her aunt's. Then the woman sees a old movie poster on the wall, starring Rita Hayworth, so the woman starts calling herself Rita.

Rita is played by Laura Elena Harring. She lays down on the bed, and goes to sleep, even though Betty thinks she should go to the hospital after she notices the large gash on her head.

Suddenly there's a bunch of phone calls. All relaying the message that the woman is gone. The final call goes to a mob boss, who speaking of The Man From Another Place, is played by Michael J. Anderson. The mob boss sits on his throne, separated from the world by a glass booth.

The mob boss also has his big toe stuck in the movies. He sends two goons over to a meeting with a young director. Adam, the director, is played by Justin Theroux. What follows is a great scene. One of the goons, the one played by Dan Heyda tells Adam that he must cast Mellisa George as the lead actress. Adam tells him no, and storms out of the meetings. Soon all of Adam's credit cards stop working.

Most of the time is spent on either Betty or Rita, or Adam the director. Betty finds out the truth about Rita, but is so nice she doesn't want to call the police, she wants to help Rita, even after she finds the strange things in her purse.

Adam, who resembles Charlie Chaplin with his odd movements and bits of silence, encounters threats and meets many odd characters all telling him to put Mellisa George in his movie.

So the beautiful roommates try to figure out Rita's past life. Betty tries to land a part in a movie, and Rita has to hide from the people she thinks are after her.

That only happens in the first half-hour. We get only more plot from there. The thing is though, with Mulholland Drive, you don't really know if they are spoilers are not. If you were to read a plot synopsis of Lost Highway would anything be spoiled?

Truly spectacular- but there will be haters! -
Best movie of the decade- haters analyzed!, July 19, 2010
By S. D. Levit (Los Angles, CA) - See all my reviews

This review is from: Mulholland Drive [VHS] (VHS Tape)

OK, so I won't get into the plot again. Suffice it to say that there will always be haters of this masterpiece, just like there will always be haters of "2001, A Space Odyssey", and others of its ilk. Why? Because some people just want to be entertained, and be spoon-fed a story that they don't have to put any effort into understanding. They tend to get angry about things that they can't understand easily. Yes, this movie is just about impossible to fully understand, or put together, on the first viewing (unless you read about it ahead of time, and that really does take away all the fun). Aside from the "surrealistic" symbolism, the story is not told in a linear fashion. This is rendered further complex because you don't realize the extent of this until the movie is over. Not that the ending explains anything, like, for example, it does in "The Sixth Sense". In "Mulholland Drive", the ending doesn't truly explain anything. You have to put it together. Yes, when I saw it the first time it was a total mind screw that I did not understand. But, it was so compelling that I simply had to figure it out. So, after reading reviews, discussions with others, and rewatching, I began to see it clearly. The more times I watched it (over a period of time) the more its magnificence (yes, magnificence) unraveled in a way that was absolutely mesmerizing! If you were a fan of the TV show "Lost", and tend to like stories that you have to put in mental effort to figure out, then this is the film for you. It is innovative, rich, powerful, emotional, intense, stark, erotic, and so incredibly sad. Naomi Watts- phenomenal in what is ultimately revealed to be an extremely complex and difficult role to play. The beauty of this film is the unique was that it will ultimately unravel for you, bit by bit. But again, you have to be the type that likes that sort of thing. Kind of like a classicist looking at modern art for the first time, and simply dismissing it as stupid- that is who the haters are, and I get that. Doesn't necessarily make any sense at first viewing. But to me, the fact that Lynch's mind came up with such a fascinating and completely different way of telling a story is what gives the movie its true value. It made most critics lists of the top 10 films of the decade (2000-2010) and deservedly so. But if you are the kind who simply wants to have a story told to you without having to put in any of yourself, don't bother, you won't like it. Not a judgement; simply a fact.