Mulholland Drive (2001)
Number 1 - 2001
Number 1 - 2000s
Top 10 - All Time
There is no other director like David Lynch. His films can only be described as Lynchian. No other adjective is adequate, and that is a compliment. The man's films are an antidote to the orthodox mode of artistic expression: [1] beginning, [2] middle, [3] end. While the vast majority of pictures, since the beginning of the cinema, begin by introducing a number of characters and navigate us through a story from beginning to end, with (usually) some resolution, Lynch's best films offer no linearity, no reliable characters (Who is that person? Does that person exist? Is that person many different characters?), and offer no comfortable resolution (Did anything happen? Is this reality or is this dream? What the f*ck?). To many "conventional" filmgoers, that is too much to handle. A film like Eraserhead, Lost Highway, or Mulholland Drive, is anathema to the senses, and for many, that avenue of filmmaking is foreclosed; no thank you But to those who are able and willing to enter the rabbit-hole, they will (or should) emerge liberated, frustrated, frightened, puzzled and utterly exhilarated. Lynch's modus operandi is that life is mysterious, random, inexplicably violent, strange and, well, non-linear. So why should the cinema be any different?
Mulholland Drive, David Lynch's ultimate masterpiece, and one of the greatest works ever committed to celluloid, incorporates, in equal measure, the weird and wonderful, on a canvas that blurs consciousness from unconsciousness, and reality from dream (is there a difference?). It is a singular cinematic experience of the purest kind. This much can be said, without faltering into confusion and error. It tells the story of an aspiring actress, Betty (she may not be Betty), who arrives in Los Angeles, from Canada (she may not have arrived from Canada at all), and settles in her aunt's apartment in Hollywood (an apartment that smells and feels Old Hollywood, something which reminds us of Sunset Boulevard). Soon after her arrival, Betty befriends, a beauty woman with amnesia, who apparently had a serious car accident on Mulholland Drive. From thereon I hesitate to say much more. We are shown several stories and characters, a film director, a mysterious wheel- chaired bound film executive (or something) that resides in shadows behind a glass screen in his office, a "cowboy", a blue goblin, a mysterious woman, a surreal theatre, and, well, other things. Lynch himself, released "10 Clues to Unlocking This Thriller"; these are:
"[1] Pay particular attention in the beginning of the film: At least two clues are revealed before the credits. [2] Notice appearances of the red lampshade. [3] Can you hear the title of the film that Adam Kessler is auditioning actresses for? Is it mentioned again? [4] An accident is a terrible event – notice the location of the accident. [5] Who gives a key, and why? [6] Notice the robe, the ashtray, the coffee cup. [7] What is felt, realized and gathered at Club Silencio? [8] Did talent alone help Camilla? [9] Note the occurrences surrounding the man behind Winkie's. [10] Where is Aunt Ruth?"
My suspicion is that these clues are only further tools to fall deeper into the mystery. There is no concrete meaning to be unlocked: 1+1 does not equal 2 in this film; why should it? Human beings are pattern- seeking mammals: we seek order in everything – the universe, life, love – sometimes our curiosity is satisfied through reason and discovery (science), others through fear and superstition (faith). Lynch knows how to play to our weaknesses, and often manages, quite skilfully to terrify us along the way.
Mulholland Drive is above all, a beautiful exercise in filmmaking – it is a gorgeous film – it is literally intoxicating. If you seek meaning, the best we can do (I think) is to extract certain overarching themes: human identity, broken dreams and poisonous fame, and human frailty. After that you are on your own.
This film needs to be experienced; it is an astounding experience, and if you don't buy it, then go and watch Pearl Harbour
"Silencio Silencio Silencio"
Number 1 - 2001
Number 1 - 2000s
Top 10 - All Time
There is no other director like David Lynch. His films can only be described as Lynchian. No other adjective is adequate, and that is a compliment. The man's films are an antidote to the orthodox mode of artistic expression: [1] beginning, [2] middle, [3] end. While the vast majority of pictures, since the beginning of the cinema, begin by introducing a number of characters and navigate us through a story from beginning to end, with (usually) some resolution, Lynch's best films offer no linearity, no reliable characters (Who is that person? Does that person exist? Is that person many different characters?), and offer no comfortable resolution (Did anything happen? Is this reality or is this dream? What the f*ck?). To many "conventional" filmgoers, that is too much to handle. A film like Eraserhead, Lost Highway, or Mulholland Drive, is anathema to the senses, and for many, that avenue of filmmaking is foreclosed; no thank you But to those who are able and willing to enter the rabbit-hole, they will (or should) emerge liberated, frustrated, frightened, puzzled and utterly exhilarated. Lynch's modus operandi is that life is mysterious, random, inexplicably violent, strange and, well, non-linear. So why should the cinema be any different?
Mulholland Drive, David Lynch's ultimate masterpiece, and one of the greatest works ever committed to celluloid, incorporates, in equal measure, the weird and wonderful, on a canvas that blurs consciousness from unconsciousness, and reality from dream (is there a difference?). It is a singular cinematic experience of the purest kind. This much can be said, without faltering into confusion and error. It tells the story of an aspiring actress, Betty (she may not be Betty), who arrives in Los Angeles, from Canada (she may not have arrived from Canada at all), and settles in her aunt's apartment in Hollywood (an apartment that smells and feels Old Hollywood, something which reminds us of Sunset Boulevard). Soon after her arrival, Betty befriends, a beauty woman with amnesia, who apparently had a serious car accident on Mulholland Drive. From thereon I hesitate to say much more. We are shown several stories and characters, a film director, a mysterious wheel- chaired bound film executive (or something) that resides in shadows behind a glass screen in his office, a "cowboy", a blue goblin, a mysterious woman, a surreal theatre, and, well, other things. Lynch himself, released "10 Clues to Unlocking This Thriller"; these are:
"[1] Pay particular attention in the beginning of the film: At least two clues are revealed before the credits. [2] Notice appearances of the red lampshade. [3] Can you hear the title of the film that Adam Kessler is auditioning actresses for? Is it mentioned again? [4] An accident is a terrible event – notice the location of the accident. [5] Who gives a key, and why? [6] Notice the robe, the ashtray, the coffee cup. [7] What is felt, realized and gathered at Club Silencio? [8] Did talent alone help Camilla? [9] Note the occurrences surrounding the man behind Winkie's. [10] Where is Aunt Ruth?"
My suspicion is that these clues are only further tools to fall deeper into the mystery. There is no concrete meaning to be unlocked: 1+1 does not equal 2 in this film; why should it? Human beings are pattern- seeking mammals: we seek order in everything – the universe, life, love – sometimes our curiosity is satisfied through reason and discovery (science), others through fear and superstition (faith). Lynch knows how to play to our weaknesses, and often manages, quite skilfully to terrify us along the way.
Mulholland Drive is above all, a beautiful exercise in filmmaking – it is a gorgeous film – it is literally intoxicating. If you seek meaning, the best we can do (I think) is to extract certain overarching themes: human identity, broken dreams and poisonous fame, and human frailty. After that you are on your own.
This film needs to be experienced; it is an astounding experience, and if you don't buy it, then go and watch Pearl Harbour
"Silencio Silencio Silencio"