Mulholland Drive (2001) User Reviews

Possibly Lynch's best; brilliant, enigmatic, and masterfully filmed

[KnightLander · 9/10 · 21 June 2005]

Originally filmed in 1999 as a TV pilot, "Mulholland Dr." was rejected. The next year, David Lynch received money to film new scenes to make the movie suitable to be shown in theaters. He did so - and created one of the greatest, most bizarre and nightmarish films ever made.

The film really doesn't have main characters, but if there were main characters, they would be Betty (Naomi Watts) and Rita (Laura Elena Harring). Betty is a perky blonde who's staying in her aunt's apartment while she auditions for parts in movies. She finds Rita in her aunt's apartment and decides to help her. You see, Rita's lost her memory. She has no clue who she is. She takes her name, Rita, from a "Gilda" poster in the bathroom. So the two set out to discover who Rita really is.

David Lynch has been known for making some weird movies, but this film is the definition of weird. It's bizarre, nightmarish, and absolute indescribable. It's like a dream captured on film. By the 100-minute point, the film has become extremely confusing - but if you've been watching closely, it will make perfect sense. Having watched the movie and then read an article on the Internet pointing out things in the film, I now understand the movie completely.

The acting is very good. Watts is terrific. Justin Theroux is very good as a Hollywood director facing problems with the local mob. The music is excellent. Angelo Badalamenti delivers one of his finest scores. And the directing - hah! David Lynch is as masterful a filmmaker as ever there was.

Is this your type of film? Well, that depends. You should probably view more of Lynch's work before watching this movie. You'll need to be patient with the film, and probably watch it a second time to pick up the many clues Lynch has left throughout the movie. For Lynch fans, this is a dream come true.

"Mulholland Dr." is a masterpiece. It's brilliant, enigmatic, and masterfully filmed. I love it.

A film you immediately want to watch again

[peter7991 · 9/10 · 5 April 2021]

Getting through David Lynch's catalogue and not all of his films have done it for me (or even been watchable for me). Mulholland Drive, though, was a mesmerising experience, which I thoroughly enjoyed. The fantastic third act revelations make rewatching it urgent!

This is why this movie is brilliant... actually... never mind.

[ikonoklastik · 10/10 · 22 February 2004]

10/10

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."

"I had a dream about this place."

[gigan-92 · 6/10 · 3 December 2011]

Mulholland Drive ( David Lynch, 2001), one of the most ambiguous films to be unleashed upon contemporary audiences, dare one say "abstract" even. In an era where simplicity is preferred over mystery and intrigue, the average audience member may find such a film angering in all respects. It resembles the classic noir genre, in so much that the infamous street Sunset Boulevard even appears in the movie as an ominous homage to the Billy Wilder film of the same name. Like that 1950 film, this movie's themes and tone is dark, but nowhere near as formulaic, per say. Classic film noir still relied on a certain pattern of events and character niches; the femme fatale, the unsuspecting victim most often our male protagonist and of course the incorruptible detective figure. This narrative method follows the invisible style, making it generally easy to understand. Mulholland Drive breaks many of these rules without a second glance, clarity being at the very bottom of its intentions if at all. Director David Lynch sets this in motion in a number of ways.

The music by Angelo Badalamenti electronic yet menacing, and creates a mood of a near horror-film like aura.

One of the most startling traits of Mulholland Drive is its complete disregard for the traditional Hollywood narrative style. Clarity, it ignores in throughout the movie, as new characters and plot lines are constantly introduced, some not followed up on till much later. The unity is leaves one even more bewilderment. Over an hour into the movie one still has no real idea how all these characters are connected, and certain events and objects even mean. The characters themselves are left to the willful imagination of the audience, as the story progresses it giving off the feeling of a mystery combined with pressing psychological puzzles. The goals of the many characters are very obscure, and the threatening world around them is even more mysterious. As for the style of the story telling, many of the house hold techniques are used: such as the foreshadowing when the ominous stranger, Louise Bonner, warns Naomi Watts of impending "danger". Closure is practically rhetorical in the film and in the same sense as Donnie Darko (Richard Kelly, 2001) most is left to the viewers to discern.

In the same fashion as Sunset Boulevard (Billy Wilder, 1950), one of the focal points of the film appears to be the decadence of Hollywood. The overhead shots of the city are accompanied by surreal, nightmare like music. The top brass of the industry appear inhuman, pompous and over all intimidating. Note the low angle shot of the apparent executive Mr. Roque. We rarely seem, and when we do no other figure is allowed to be in his presence apparently. The portrayal of Hollywood has many homages to the way it was portrayed by Wilder; with the apartments being dirty looking with their drab browns and dirty to look everything. In the daylight scenes, where it can be hard to use low-key lighting without delving into the extreme-gloomy Tim Burton trademark, the cinematographer Peter Deming uses this filthy look to the setting to establish the dark mood. Another particularly hard-hitting aspect would be the loss of innocence. As Naomi Watts rehearses her role with "Rita" (Laura Harring), she delivers the dialogue in an overly-loud cliché manner, but in the rehearsal with the studio heads, she becomes a whole another person it seems. The medium shot of the first rehearsal is replaced in the second one with a sensuous medium close-up, and the excellence of her acting there is fueled by pure unrestrained sexuality. Compared to her naïve depiction up until this scene, one would struggle to connect the two scenes.

This is just a small taste of the complex mystery world Lynch sets up in his cryptic film. Lighting, setting and the way the characters act still are saying something, but the way the plot moves makes it a struggling endeavor to understand. In all its zaniness, one important theme to grasp is the freedom of artistic tactics in film making. From the dawn of Hollywood to this day the general consensus is that everything must be immediately understandable with only one possible interpretation. There is no such rule because the clarity of the movie is unrelated to the art of it. The way the film is edited, credit to Mary Sweeney, plays an undeniable role in the film's perplexing beauty and terror to an extent.

Speachless

[hampus-niskala · 10/10 · 12 March 2021]

This was my first David Lynch film and it left me completely stunned and amazed. You will have to come up with your own interpretation of the movie and that changed my view on movies and art as a whole. Recommended for everyone who wishes to see something truly unique and interesting.

maddening surreal tale

[SnoopyStyle · 6/10 · 19 July 2016]

Betty Elms (Naomi Watts) is a naive Canadian aspiring actress who arrives in L.A. to stay at her aunt Ruth's Hollywood home while she's away filming in Vancouver. She finds a dark-haired beauty in the shower. She (Laura Elena Harring) has amnesia after a car crash on Mulholland Drive and takes on the name Rita. There's a diner called Winkies. There's director Adam Kesher (Justin Theroux). There's a hit man (Mark Pellegrino) who has a hit that keeps going wrong. Rita remembers the name Diane Selwyn and Betty joins her to find the dead woman.

This film is maddening. David Lynch has created a confusing surreal tale. I'm sure someone has dissected this to make sense of everything. I can't tie the whole movie down. The pairing of Watts and Harring is great. Watts is especially terrific. If this comes with explanations, I may just like this more.

love lynch, or hate lynch, admit he's a master

[orangecatdancing · 10/10 · 28 January 2002]

"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.

Surreal, intriguing and frustrating

[davidallenxyz · 5/10 · 14 December 2022]

I've been trying to wean myself off writing IMDB reviews. But felt I had to respond to the reviews for Mulholland Drive.

"It's an art film and I got it! 10/10!" "It's an art film and I didn't get it! 1/10!"

I'm right in the middle.

It's an art film. I got the bits that it is possible to get. I didn't get the bits it isn't possible to get. 5/10.

The premise is about a car accident that leaves a woman (Laura Harring) with amnesia, who then finds a friend in an actress (the excellent Naomi Watts) who has just arrived in a Hollywood that is full of danger and mystery. But this narrative is only loosely followed.

For nearly 2 hours Lynch leads us on a dreamlike journey through the women's search for truth, with plenty of detours via a film director under pressure (Justin Theroux) and strange, often horrifying characters lurking in the shadows.

And then in the last half an hour the movie flips everything on its head and goes to a completely different place.

And it's this final half hour that is the movie's undoing. It just doesn't tie in well enough with the first part of the film. Certainly you can see the connections, but they don't stand up to scrutiny. There are far too many loose ends. And justifying it by saying it's "surreal art" isn't a good enough excuse.

The real masterpiece would have been a film that tied everything together. Mulholland Drive could have been a spectacular mystery thriller, but instead it hides behind it's artistry.

Where does it begin and end??

[dmhumphrey · 10/10 · 30 November 2001]

Hitchcock would be proud of this movie. Even when nothing happens, it is suspenseful. Director David Lynch overuses a few cheap thrill tricks here and there, but he intersperses them with other cinematographic techniques to keep it from becoming obtuse.

Altogether surreal, this movie is like waking up and remembering most of a dream but not enough to make it sensible. I am still trying to figure it all out and will probably have to see it again to catch things I missed and which may help me understand it better. It is a very detailed plot that very slowly comes together, so you must be patient and pay attention. Get your bathroom trip out of the way before it starts. And yet, the plot is overshadowed by the theme, the mood, the character development, and the filming techniques.

The dual roles of the main actress, Naomi Watts, showcase her enormous talent. That is, when I could get my eyes off of her co-star. What an acting pair.

Lynch surprises throughout the movie with unusual camera angles, the length/timing of editing cuts, jumping back and forth between scenes. Combined with smart use of music and sounds, it all helps to build suspense in our minds, doubtless a major objective of the director. Well, he kept me on the edge of my seat, even had me talking to the actors to be careful here, and not be so naive there. You know, the kind of stuff you want to smack your kids for doing at the movies.

The Ultimate Rubik's Cube.

[tfrizzell · 26 March 2002]

"Mulholland Dr." is something else. It is a film that will make you question your own sanity in many ways. Naomi Watts is the young, starry-eyed Canadian that wants to make it big in Hollywood. She is naive and thinks that dreams can come true if you want them bad enough. Watts discovers a very beautiful woman with amnesia (Laura Harring in a sizzling performance) in her aunt's house in L.A. and she becomes determined to help Harring out. Harring is mysterious and her near-fatal car crash occurred on the dark and winding Mulholland Dr. Throughout several oddball and very dark scenes take place. A young director (Justin Theroux) learns that Hollywood is run by strange underworld figures that are quiet, but ruthless. Another strange side-story is the mysterious man behind the diner that is seen in another character's dreams. An inept assassin also runs around causing unwanted trouble for himself and others. Then of course there are cameos by Robert Forster and Billy Ray Cyrus. The film twists into darkness as it progresses as Watts' and Harring's relationship turns sexual. A fine line between reality and fantasy is skewered and it comes down to a strange Pandora's box that holds the true secrets to "Mulholland Dr.". Oscar-nominated director David Lynch also shows that not all you see and hear is real, even though one's mind might think so. The film seems artificial at times, showing Hollywood as a nice place where dreams can come true. But then the dreams are turned into vivid nightmares of what could possibly be the true reality. David Lynch somehow makes this whole thing work and he makes it work beautifully in this reviewer's opinion. The film is a trumped-up version of "The Twilight Zone" and it adds many techniques that made Alfred Hitchcock the true master of suspense. Many wonder what this film is truly about. I am not sure. I am not sure Lynch even knows, but I am going to give it a shot. "Mulholland Dr." is the dark side of the human condition. It is a film that shows how easy one can lose one's soul if bad elements are let in. There are figures that seem somewhat supernatural to me in this movie. It seems that many of the characters are "messengers" that are all after one thing: Naomi Watts' soul. Watts lets the elements in and in the end she cannot overcome them. What she thinks she wants seems attractive on the outside, but there are cobras on the inside that will be too strong to fight off. In short, "Mulholland Dr." is a brilliant piece of film-making and it is brilliant due to its unique aspects and the fact that it is what one thinks it is. There is no right or wrong answer and it is a film that makes you think. "Mulholland Dr." is a complicated puzzle for the minds of cinema fanatics. 5 stars out of 5.

Another Strange-But-Fascinating Film From That Strange Director

[ccthemovieman-1 · 8/10 · 27 October 2006]

Wow, what a strange film. It's a David Lynch movie so it's no surprise that it is weird.

I defy anyone to totally explain everything in this film. I can't be done. After some research following my second viewing of this film, I pretty much know most of the story but on a first look, and with no aid from other reviewers or outside help, it is hard to figure things out. So, if you're in that boat and was confused, don't feel bad; that's normal. Let me just say the key to the film is Naomi Watts' character.

At any rate, I find the film fascinating. I love the wonderful visuals and rich colors and find each character in this movie really different and fun to watch. The camera-work is excellent and the music is creepy, a la Lynch's "Blue Velvet." There also are some good sound effects to help some of the dramatic scenes. In all, it's very well scored.

Like Lynch's "Twin Peaks" television series, this was a film in which the end was pieced together afterward since Lynch thought this film was going to be a long, drawn-out TV series. When that didn't happen, he pieced at the last minute this ending. That may account for some of the confusion at the end and the lack of explanations concerning characters we see earlier in the film but who mysteriously disappear.

The theme of the story, supposedly, is a negative comment about Hollywood and what it does to people, especially those whose dreams of being an actor are crushed.

Both Watts and the other leading lady, Laura Eleana Harring, are very interesting to watch, especially in their celebrated lesbian sex scene. Looks- wise, both women were chameleons, looking average at times, stunning at other times.

I enjoyed this movie more on the second viewing than the first. It's not just a curiosity piece; it's a very intriguing movie.....just don't feel stupid if you can't make sense of a few things.

My First David Lynch Film

[Azytzeen · 6/10 · 6 September 2006]

Like the title said, this is my first David Lynch film. I do not know who David Lynch is, nor have I heard of his previous films. So maybe I am missing something by not seeing the others. I do hope that this is not the case. I was told to watch this my a close friend as she regarded it quite highly. This is not an easy movie to understand, so to be fair, I watched it three times, each time with a different mindset. The conclusion, unfortunately, is that this film is not one that should be hailed for being a "piece of art" or anything extraordinary. This film has some beautiful scenes, but that is about it.

Many people have claimed that this film is art. Well, I must respectfully disagree with them on this regard. If all art is is putting pretty pictures together, then anyone can be an artist. True art goes much deeper. This is where Muholland Drive fails. During my second time of watching, I was told to "think less and let it (the movie) flow". This is quite impossible as whatever flow this movie tries to achieve is destroyed by its inconsistency.

My final time I tried to pick up certain parts of the movie, and tried to make some sort of sense to it. However, it leaves 40% of the scenes unexplained. Is the director trying to lure people in by showing us eye candy and hoping the rest would flow as people get too caught up with their desperate attempts to scrounge up some meaning for it? I think it might be the case.

Should you watch this movie? I don't know. It is a beautiful movie but that is it. Pure eye candy with no substance. I really wanted to try to find some meaning to this film, but it seems that it is the movie that is preventing me from doing so.

Lynch at his very best!

[klesker · 9/10 · 1 October 2002]

We all love to have our minds toyed with but sitting through a David Lynch film is like having your brain removed entirely. This film is no different as it proves that Lynch (Next to Bunuel) is a master surealist film maker.

The film sees a young girl known only as Rita trying to remember who she is. The whole "girl with amnesia" plot make a lot of sense until about 3/5 of the way through the film when something that can only be described as a Lynchian Pandora's Box is opened. We are then tormented with a demonic homeless man, a mysterious Spanish play house and shrunken people before it all finishes in very dramatic, surreal David Lynch fashion.

This film is perfect. There is no other way to describe such a great piece of work. It is flawless because it is helmed by a man that knows everything about his craft and is not afraid to show it off. This sort of film has been sorely missed since his last outing, Lost Highway, in 1996. It's good to see Lynch at his old game and lets just hope in future that he produces more gems just like this.

5/5

Defiantly not the masterpiece I had been lead to believe.

[JGTurner-364-300307 · 6/10 · 7 May 2012]

Of course we scratch our heads in bafflement at what exactly Mulholland Drive all means, is it parodying the life of Marilyn Monroe or some other tragic actress? Is this a Mobius strip phantasm reflecting parallel dimensions, a rumination on fantasy and broken dreams? And what of the highly unpredictable ending and how much does it represent the protagonist's upbringing or her taking part in a jitterbug contest (???!!). And yes, all these points are all very well, but ultimately despite my admiration that the film has motivated viewers imaginations I am still left with how it has made an impression on me. It's not like I'm a film goer who equates the necessity to 'enjoy' a film in the sense that it should be a fun ride like in a fairground, but I do have a fairly important stipulation that a piece of art should have power. And Ultimately I wasn't completely won over by Mulholland Drive, I felt emotionally disconnected from its fetishism of Hollywood and quite bored with the purposefully ambiguous dialogue/plot. That it should transcend such barriers of quality control just because it's considered great art seems a ludicrous approach to film criticism, and thus I can only conclude that I didn't get Mulholland drive, not for the purposes of it being a surreal, satirical or even its confusing narrative but simply because I thought while it was at times interesting film it was defiantly not the masterpiece I had been lead to believe.

Requires a flexible imagination and most likely a cheat sheet

[Movie_Muse_Reviews · 7/10 · 2 December 2009]

David Lynch's "Mulholland Dr." is like one of those video games that the programmers make so amazing yet so impossibly difficult that in order to be fully satisfied you're forced to buy one of those walkthrough game guides. The film might be a masterpiece, but it's a Rubix cube of surrealism that prefers to leave you with more questions than answers.

Psychological thriller barely begins describing "Mulholland Dr." Most notably, Lynch has no lack of ability to create suspense. Despite being a total mindfudge (implication of more explicit language necessary), the film is completely gripping and will not lose any viewer for a second. You could argue the beginning is not very deliberate, but to understand the film everything is essential.

On Mulholland Dr. a woman (Laura Elena Harring) survives a fatal car accident but is left with amnesia, wandering her way to an apartment of a woman heading out of town who happens to be the aunt of Betty (Naomi Watts) a starry-eyed aspiring actress who has come to stay in LA while her aunt is gone. Together, the two try and find some answers as to the woman's identity. Meanwhile, a Hollywood director (Justin Theroux) is without his lead actress and being pressured by mobsters to select a particular one.

But plot is a side dish in this movie. As hard as it is to do, the way it's best enjoyed (and I wish I'd known this pre-hindsight) is to take in the visuals and emotions and tame that instinctive plot detective inside all of us. The beauty of Lynch's work is best understood by what the events and images of the film suggest. Don't view them as tangible proof of factual happenings in the film, but as manifestations.

Put on those lenses and Lynch's work is easier to appreciate. The slow movement through the sets, the symbolism, the bizarre but intriguing transitions and the way the film's score works flawlessly to direct your every thought and inclination -- it's all there if you can manage to let go of the plot when necessary.

It's hard to analyze the film any deeper without exposing the cheat sheet -- even if you'll probably need to look at it anyway. Lynch has even listed a number of things to pay attention to to help understand his film -- you can look those up on IMDb or anywhere before watching and it could help.

Does the fixation on surrealism hurt "Mulholland Dr," not necessarily, but the best films don't require hints or cheat sheets to love and in order to love "Mulholland Dr.," you have to know what's going on and that's a lot for the vast majority of movie watchers to handle. Appreciation for Lynch's skill is easy to develop, but it would be best if it were simultaneous with digesting the story.

~Steven C

Visit my site at http://moviemusereviews.blogspot.com

Mulholland Drive? That's where I was going!

[spoilsbury_toast_girl · 29 April 2005]

The case history of 'Mulholland Dr.' is known: What should had been another excursion (after 'Twin Peaks') into the rivaled field of TV-series ended up abruptly after completing the pilot. It was too risky and twisted for the producers to venture an investment. Lynch used all the filmed and cut material and started new shootings to finish a completely new feature film. The result: One of the most impressive cinema experiences of this decade which can be ranked among the best works of David Lynch. His earlier movies 'Eraserhead', 'Blue Velvet' or 'Wild at Heart' kept aloof in an irritating way which hustled the viewer into the role of a voyeur, but never involved him as part of the plot happening such as here.

'Mulholland Dr.' is a puzzle where pieces are missing, others obviously were taken from 'Eraserhead' and 'Lost Highway', but it never seemed to be unfinished work. In the internet I came across with a lot of instructions and essays to explain this film. I am aware now that it loses its magic when you try to decipher it completely. All those detailed solution explanations are not only waste but also the questionable attempt to offer an answer where no such thing is completely required. Imagine this scenario: A little child is dissecting his teddy bear to find out where the secret and the specific of that bear lies. Is it because it wants to destroy his toy? Does the secret lie in the teddy bear or actually in the heart of the child? Transferring this to 'Mulholland Dr.' it means innocence is one of the most important conditions to watch and appreciate it.

David Lynch succeeds not only to picture the surface of human behavior life but also to grapple with everything beneath that. Human desires, dreams, obsessions and fears - all that what remains unspoken; emotions that are often repressed. 'Mulholland Dr.' has the intensity calling for a cast that completely takes issue with the substance. Actresses and actors who are ready to follow the visions of the director selflessly.Laura Elena Harring, Naomi Watts, Justin Theroux solve their task in such an impressing way that you wouldn't want or couldn't imagine another cast. While their acting at the beginning seems to be a little superimposed you soon will realize that this stereo typing is set in with a purpose to manipulate the viewer and to baffle him as soon as the red thread of the film is visible.

When you claim the criterion of a well made film in being able to lose yourself and dive into what you see on screen than Lynch succeeded in making a masterpiece. A modern masterpiece that manifest David Lynch's status as one of the most important, creative and courageous directors of the present. Like every film maker who go beyond the limits he is confronted with criticism and ignorance. This will fade as soon as you find the individual key to Lynch's world of films. 'Mulholland Dr.' is more than just a sleeper – it is a must see for everyone who loves ambitious cinema. And besides, the film is a pay-off with Hollywood, in form and content, which in that distinctness was hardly dared before.

One of the best movies ever

[katalist420 · 10/10 · 1 March 2022]

Not only one of David Lynch's best movies, but its also one of the best movies of all time. A movie you can watch so many times over and still enjoy and find new things. Sit back and be blown away by the master at work here. The atmosphere, the acting, the directing, the editing, the use of sound,etc.. is all so well done.

If you enjoy David Lynch movies check this out, if you enjoy good movies that are different check this out.

Mulholland Drive - Lynch's cinematic art - reality vs. fantasy

[drarthurwells · 8/10 · 5 April 2013]

Lynch loves to realistically portray logical sequences interspersed by fantasy diversions, which entrances but confuses the viewer. Blue Velvet is his best film, and works well because of its overall logical coherency spiced up by fantastic deviations from the norm (the fantasy element of the film). This technique reminds me of Fellini's 8 1/2, where fantasy was often interspersed with a logical and coherent plot.

Mulholland Drive starts off logically but then gradually abandons logical coherence as dream-like (but realistically presented) sequences are brought into the plot. Then there is a shift in the plot, from the fantasy of the first part, to the reality of the second part where roles and identities are reversed and reality reigns.

Lynch's genius is in his artistic slight of hand where he presents a fantasy scene realistically, sucking the viewer in to expecting a meaningful depiction, then upending these expectations in shocking the viewer with the fantastic elements of the scene. I can imagine Lynch laughing in the background as he plays his joke on the viewer.

The film Holy Motors presents pure fantasy in nonsensical and unrelated sequences, and is bad art. Mulholland Drive has enough organization and structure, with more skillfully accomplished fantasy, to qualify it as good art.

Naomi Watts gives us an outstanding performance - better than the typical "Best Actress" Oscar award winner's performance in the last 20 years. Watts usually gets roles that don't allow her to display her considerable acting skills, but this role does, and she more than meets the challenge.

The plot is secondary for Lynch since cinematic art is his focus. However, the movie is totally baffling unless you have some guidelines. Basically Mulholland drive is the story of a young girl who comes to Hollywood with high hopes of becoming an actress. The film is told in two parts. My interpretation is that the first (Watts as Betty) part is psychotic delusions of the young girl as she reconstructs her past leading up to the promise of a brilliant acting career. This is presented as reality and the viewer has no idea it is false. The shift to the second (Watts as Diane) part shows some shifting of roles, and depicts the true story whereby the young girl fails to become an major actress. Her identity is valid, as Diane, in the second part showing her dismal failure, while Rita of the first delusional part becomes Camilla in the second reality part.

Naomi Watts thus plays two roles with different identities, in part one and in part two. The two parts are cued by the change in her name from the delusional Betty (part I) to the real Diane (part II). In a clever signal of this personality change, the waitress at Winkie's is named Diane when Betty and Rita go to eat there in the first fantasy part, while this same waitress becomes Betty when Watts as Diane goes to Winkie's in the real second part.

The plot shift from fantasy to reality mirrors the high hopes and aspirations as fantasy (Part I as Betty) and dismal failure as reality (Part II as Diane), that happens so often as young would-be performers seek fame in Hollywood but end up as failures.

entiendes? ¡No!

[asda-man · 10/10 · 2 February 2013]

A lot of people say that 'Rosebud' is the greatest mystery from Hollywood, but actually I think that Mulholland Drive is. I've never experienced anything quite like it. Its plot is slow-moving and sometimes feels unconnected to anything, yet it's too engrossing to look away. Mulholland Drive is one of the most intriguing films I've ever had the pleasure to watch and it's one that demands viewing multiple times. It's that type of film where you think that everything will be explained to you at the end (like The Skin I Live In) however, being a David Lynch film, this doesn't happen and the film is all the better for it.

Once the film had finished I hadn't a clue what I'd just watched, yet I couldn't wait to get onto that wonderful thing called Google and find the answers! The ten clues in the DVD also did not help one bit! It forces you to analyse everything and makes you realise what an astonishingly clever many David Lynch is. Every scene has a purpose, it just requires strong thought which is why a lot of people would instantly disregard this film as meaningless rubbish. However, if you dig deeper you may find yourself in awe at one of the most intricate plots ever established.

I loved the whole metaphor for the Hollywood dream being a lie. Words can't describe how clever this film is. Any film that has a whole website dedicated to a whole range of crack-pot explanations is surely a masterpiece, and I truly believe that Mulholland Drive is. It stops becoming a film and turns into art. An extremely interesting and involving art-piece that I found myself being sucked into. The mystery is just captivating, with various scenes that seem like they've just been shoved in like the hit-man scene (which is hilarious) yet you can't stop watching it! It's very difficult to put into words.

Reading various explanations only makes me appreciate this film more, and the amount of thought and care that has gone into it. Naomi Watts puts on a brilliant performance and I found myself completely captivated by her story. There are scenes that seem to go on for such a long time, such as the remarkable audition scene, however it's scenes like this which give Mulholland Drive such a dream-like atmosphere and pulls you into the story even deeper. The club Silencio goes on for an awful long time, yet I wasn't bored, just astonished at the film's atmosphere. There's something about it.

Of course the film is fabulously directed and I can see myself becoming more of a fan of David Lynch now that I've seen the brilliant Elephant Man and the good but flawed Wild at Heart. He's certainly very unique and this film is unlike any other I've seen before. It's a film that will make you perplexed but also gripped. At a hefty two and a half hours long I was never bored and just wanted to see it all again! Mulholland Drive really is a masterpiece that will get your mind boggling like a boggle champ. It's incredibly haunting with bizarre imagery that is sure to always find a place wedged in your mind. It's one of those films that stays with you, and you don't really want it to leave either.

One of David Lynch's best and one of the best of the decade- not for all tastes though

[TheLittleSongbird · 10/10 · 4 September 2014]

I found Mulholldand Drive to be a fantastic film, having loved all of David Lynch's films seen personally so far (personal favourite being The Elephant Man, one of the most emotionally affecting films ever made) with the exception of Dune. For this viewer, Mulholland Drive is one of Lynch's best films and among the best films of the 2000s, but it is also one of Lynch's most love-it-or-hate-it films- from a love/hate him director- as seen in the reviews here. And it is very understandable why people would dislike it, it is weird (not unusual for Lynch), it is slow, the story mayn't be clear to some, the symbolism may go over people's heads and it does get confusing especially towards the end. And it has nothing to do with not getting it, it is just not for everybody's tastes and not everybody is going to connect with it. For those who love it neither of these are problems, admittedly it is a good idea to be acquainted with Lynch's style beforehand so that it doesn't come across as too much of a shock and also to watch it more than once. Justifying what was so great about Mulholland Drive, a good place to start would be the visuals, which are never less than scintillating with bold colours, symbolic imagery and some of the most striking cinematography of any film from this decade. The Silencio Club scene is so beautifully shot. The haunting retro score, thought-provoking dialogue and that it contains some of Lynch's finest direction and the best directing of all the films from 2001 are further things to like. The story is where those who dislike it are perplexed, granted there may be too many plot strands crammed in towards the end and not everybody's going to like how the ending is open to interpretation, but with me the thriller-drama story was gripping and I was captivated so much by the surrealist atmosphere, offbeat emotional intensity and sizzling suspense that the slow pacing didn't feel slow at all. It wisely focused on the relationship between Watts and Harring, and while bizarre it was very well handled. The cast carry the film brilliantly, especially with the sensational lead performance of Naomi Watts who has never been better than here. Laura Harring is enchanting and Justin Theroux is very good. In conclusion, while not for everybody's tastes for understandable (and quite obvious) reasons Mulholland Drive was fantastic in all areas. 10/10 Bethany Cox

Lynch fans will love it; others should avoid it

[dlmart · 6/10 · 15 December 2003]

Imagine enjoying a world-class symphony orchestra, and just as the music reaches the crescendo of the final movement, the conductor lowers the baton and a cacophony of sound spews forth. This is my impression of Mulholland Drive.

The acting and cinematography are superb. Suspense builds in the first 75% of the movie in a consistent and engrossing manner. But in the end we find the movie devolves into a typically Lynch morass of plot twists and vexatious imagery.

For most people who prefer to watch a movie ONCE and completely "get it", this movie is frustrating and unsatisfying. However, for the viewer who enjoys the challenge, there are sufficient details, clues, and hints dispersed throughout the movie which may be aggregated to piece together a unified interpretation.

If you are a fan of David Lynch, you will probably love this movie. If you are not, you will likely want to avoid it.

A good concept but something was not right

[akshatmahajan · 6/10 · 29 June 2021]

Mulholland Drive is a simple suspense story which is shown in different way. Director used a few cheap thrill tricks to make the story confusing and the tricks worked.

I am still trying to figure the climax and will probably have to see it again to catch things I missed and which may help me understand it better. It is a very detailed plot that very slowly comes together. Editing work was great, jumping back and forth between scenes was done properly. Combined with smart use of music and sounds, it all helps to build suspense in our minds.

This movie demands alot of patience as you are seeing 2hr 30min dead serious drama. This is where main problem lies. Movie is so slow paced with dead serious plot and you might start getting frustrated and may loose patience.

Overall, it is movie which everyone might not love watching. Some will love it, some will hate it. This movie demands audience which love dead serious crap.

Brilliant!

[dmansquared · 10/10 · 19 March 2021]

A brilliant mystery and message. David Lynch calls it how he sees it and tells us it in his own way. Gotta love it!

Unnecessary confusing story telling

[piribweraz-24444 · 7/10 · 19 September 2020]

Why must a movie be confusing and make no sense for it to be rated a masterpiece? This movie tries to confuse us at all levels, but after a second watch I realised it's actually a good story, told in a nonsensical way. My take on what would have been a straight forward story...

Girl goes to Hollywood to try and fulfill her acting dreams and stardom.

She uses money from a late aunt to sustain herself hoping to become a big star before money runs out.

Harsh realities in Hollywood frustrate her. She meets a seasoned actress who only uses her for sex. Allows her only some small parts in movies she's in.

She realised her lesbian lover is using her and hurting her. Decides to use her last moneys on drugs, a hit on her jilted lover and a gun.

Her overwhelming failure to realise her Hollywood dream and guilt over murdering her ex lover and fear of lifetime prison sentence drives her to suicide...

The end...

Why so much unnecessary confusion had to be introduced in this movie, I dont know. Luckily I watched this at home. Had it been in a movie house I would screaming for my money back.

Lynch's Masterpiece

[jef-frisone-1 · 10/10 · 5 May 2012]

This is maybe not my favorite Lynch film, but I feel it is his masterpiece. All the threads he has been working on for years finally come together in one story. I prefer Inland Empire because of its truly dreamlike ambiance, but this film never ceases to intrigue me. The acting is excellent, esp Watts. The editing and cinematography are superb, the music sublime. It is shameful that the film only received one Oscar nod for Lynch (though he deserved it). It could easily and should have been nominated for film (as it was here in France), for music, for editing, for cinematography. Instead, we got typical John Williams type of music, a feel-good film, etc, as winners. I think Lynch perfected the language of cinematic-dream language in Inland Empire, but this one comes close. Kept my friends wondering for days what was really going on through the whole film. You can't ask anymore of a film: if it makes you think, you remember it, even if you hate it. So better than so many films that are in one eye and out the other.