Classic Lynchian elements. Dark, erotic, and surreal.

Rating: Null/10 (22 July 2002)

Mulholland Drive is further evidence that David Lynch is one of the most unique directors of our time. Few film directors are capable of evoking an atmosphere that is instantly identifiable without merely repeating the same tired tricks that have worked for previous projects. It's all there: Dream sequences, jagged cinematography, creeping camera angles, scene to scene anticipation, side characters who have disturbing visions, Donna Reid-type innocence contrasting with pure evil, and of course, the carefully crafted, dark, erotic underworld-meets-swanky, cocktail jazz, stylings, (probably his most unique trait).
All of Lynch's films seem to convey the mystery of innocence being lost to carnal desire. In "Blue Velvet", we saw Jeffrey drawn towards something that horrified him equally as much as it excited him. He was essentially the "Donna Reid-esque" character of the film who felt strongly compelled to immerse himself in the darkness he discovered though he was also trying to remain the typical all-American, small town, nice guy that everyone could rely on. Needless to say that Laura Palmer's character followed this pattern as well. This dichotomy is also seen with Betty in "Mulholland Drive." She arrives in Los Angeles with the age-old fascination of becoming a famous actress when she stumbles upon a lost, scared, naked woman in her apartment who has no idea of her own identity, but knows that she is, in fact, running from something. Rather than running from the horror herself, Betty befriends this woman, sacrificing her own dreams to help reveal the mystery that has entered her life. What happens from here is a jagged journey through the subconscious where the women discover subtle truths about themselves while also falling prey to the dark, obsessive attributes of Hollywood.
Every other character in this film is lustful of the manufactured reality of Hollywood and is willing to travel to any dark depths of their souls to get what they want. Lynch cleverly displays the twisted heirarchy of the Hollywood lifestyle while also illustrating its devastating effect on the individual. Reality becomes dream-like, Characters transform, time overlaps itself, fear becomes sensual, and the horror becomes overwhelming, but the victims are not necessarily the prey, and of course, the seemingly innocent are not necessarily angelic.
With the intensity of the film's shifting dynamic, Lynch has once again given us a work of art that will undoubtedly lend itself for endless study, criticism, and most likely, scorn. Not everyone will have the patience for "Mulholland Drive." Many will find it rewarding merely for its creepiness. Others will be dazzled by Lynch's blatant use of atmosphere and tone. All of his movies have very unforgettable scenes that exist entirely for effect. These scenes generally involve music and penetrate the very core of the movie. In "Fire Walk With Me", there will always be the sludgy-swing rock of the band performing during Jacque Renault's orgy, (not to mention Julie's Crusie's sylph-like cooing as Laura sat a table and cried). In "Blue Velvet", Dorothy's singing had a hypnotizing effect on both Frank and Jeffrey. In "Mulholland Drive", the "Silencio" scene will without a doubt remain in the minds of viewers for some time to come. The Spanish singing is eerie, heartbreaking, and powerful.
For those who fear that "Mulholland Drive" will take the same route as Lynch's previously incoherent, "Lost Highway", fear not. There are plenty of Lynch's trademarks going on this film to make it dazzling both visually and intellectually. Just don't expect an immediate revelation.