Mulholland Dr.
Tags: dark, avant garde, neo noir, murder, mystery, boring, dramatic, cult, violence, atmospheric, psychedelic, plot twist

Plot synopsis:
Along Mulholland Drive above Los Angeles, an attractive brunette woman (Laura Harring) rides in a limousine. Suddenly, the driver stops and orders her out of the car at gunpoint. Before she can exit, a car driven by joy-riding teenagers plows into the limo. The drivers are killed but the woman emerges from the wreck. In a daze, she stumbles down the hillside and into Hollywood. She falls asleep in the bushes in front of a luxury apartment complex from the golden era of Hollywood. The next morning, she sneaks into one of the apartments as its tenant, Ruth Elms (Maya Bond), leaves by taxi with her luggage. Meanwhile, two police detectives (Brent Briscoe and Robert Forster) find an earring at the scene of the accident and realize that someone may have survived the crash. They begin their search.At a Winkie's restaurant, Dan (Patrick Fischler) tells Herb (Michael Cooke) about a frightening dream he has had involving an evil entity living in the alley behind the restaurant. Herb insists they investigate. As they reach the alley, a crone with blackened skin lurches out at Dan, who collapses.Betty Elms (Naomi Watts) arrives in Los Angeles from Deep River, Ontario. At the airport, she explains to an elderly couple she met on her flight that she hopes to make it big as an actress. Her Aunt Ruth is allowing Betty to stay in her apartment while she is away filming in Canada. When Betty arrives at Ruth's apartment building, Coco Lenoix (Ann Miller), the friendly landlady, greets her and lets her in. Exploring the apartment, Betty finds the brunette cowering in the shower and assumes the woman is a friend of her aunt's. The unknown woman is dazed and confused and just wants to sleep. She explains that she had a car accident. Inspired by a Gilda movie poster hanging up in the bathroom, she takes the name Rita but admits she doesn't remember who she really is. Betty and Rita open Rita's purse and find thousands of dollars and a bizarre blue key. They hide these objects in a hat box and decide to solve the mystery of Rita's identity together.Filmmaker Adam Kesher (Justin Theroux) is in a meeting downtown with his agent, two producers and the thuggish Castigliane brothers (Dan Hedaya and Angelo Badalamenti). The brothers show the filmmakers a headshot for an actress named Camilla Rhodes (Melissa George) and order Adam to cast her as the lead in his new film. Adam refuses to let the brothers override his authority as the film's director and angrily leaves the meeting, smashing the brothers' limousine with his golf club before speeding away in his Porsche. He arrives home to find his wife Lorraine (Lori Heuring) in bed with the pool cleaner Gene (Billy Ray Cyrus). Adam retaliates by pouring pink paint over all of Lorraine's jewelry. The three tussle and the muscular pool man throws Adam out. Later, some goons sent by the Castiglianes appear at the house, looking for Adam. One of them beats up the wife and the pool man. Meanwhile, Adam hides out in a low rent motel downtown. The proprietor, Cookie (Geno Silva), tells Alex that bankers called him to say that Adam was broke, a fact that Adam's assistant Cynthia (Katharine Towne) confirms. She also tells Adam that "The Cowboy" (Lafayette Montgomery) wants to meet with him at a corral in Beachwood Canyon. At their meeting, the Cowboy tells Adam he must cast Camilla Rhodes as the lead actress. "You'll see me one more time if you do good, and two more times if you do bad," he warns.In another downtown office, Joe, a hit man (Mark Pellegrino), kills an acquaintance in order to confiscate a black address book. Because of his incompetence, he winds up having to kill two other people-- a lady who sells mail order diet aids in the next office (Diane Nelson) and a janitor (Charles Croughwell) whose vacuum cleaner shorts, setting off the fire alarm. Later, at Pink's on Melrose and La Brea, Joe tells a prostitute (Rena Riffel) to be on the lookout for a brunette woman who recently went missing and may have ended up on the streets.Betty and Rita go out for coffee at the same Winkie's where Dan and Herb discussed Dan's dream. There they phone the police and learn that there was an accident reported on Mulholland Drive. Rita also reads the name "Diane" on their waitress' name tag and remembers the name "Diane Selwyn." They find an address for a woman with this name in the phone book and make a plan to investigate.One of Coco's tenants, Louise Bonner (Lee Grant) wanders up to the apartment where Betty's staying to warn Betty that "someone's in trouble!" Coco tells Betty that Louise is clairvoyant and her warnings are often correct. Coco also advises Betty to put Rita out.Aunt Ruth has arranged an audition for Betty. As Rita runs lines with Betty, the two women can't help but laugh at the bad dialogue. Likewise, everyone at the audition seems like they're just going through the motions, including the over-the-hill romantic lead, Jimmy Katz (Chad Everett). Betty suddenly loses herself in the role, giving an electrifying performance that takes Jimmy by surprise and excites the director, Wally Brown (James Karen). She does so well that the casting director immediately takes her to see Adam Kesher. They arrive at the sound stage where Adam is auditioning actresses for the lead role in The Sylvia North Story, the part earmarked for Camilla Rhodes. Betty and Adam make eye contact and seem to connect. Adam watches Camilla lip synch to Linda Scott's "I've Told Ev'ry Little Star" and announces halfheartedly that she has the role. Before she can meet Adam, Betty rushes back to the apartment to keep her date with Rita to visit Diane Selwyn's place.Betty and Rita first knock on #12. A woman answers, but it's not Diane, it's a neighbor who tells the women that she switched apartments with Diane, and they can find her in cottage #17. The neighbor wants to accompany Betty and Rita to #17 because she says that Diane "still has some of my stuff," but her phone rings and she goes back into her apartment to answer it.No one answers when Betty and Rita knock on the door of Diane's cottage, but when they slip in through a back window, they find the decomposing corpse of a woman in the bedroom. Distraught, Rita tries cutting off her hair when she and Betty return home, but Betty persuades her to wear a blonde wig instead. That night, Betty invites Rita to share the bed with her rather than sleep on the couch. Rita gets into bed naked and after a few moments, the women find themselves making love. Betty tells Rita that she is in love with her.Later that same night, Rita wakes up next to Betty speaking in Spanish and, despite the late hour, insists that Betty accompany her downtown to Club Silencio. In her blonde wig, Rita looks more like Betty. At the club, Rebekah Del Rio (herself) lip synchs a Spanish version of Roy Orbison's "Crying." Betty and Rita, deeply moved, cry. Betty reaches into her purse and finds a blue box. She and Rita return to the apartment and take the odd blue key out of the hat box. Betty suddenly disappears, leaving Rita to open the box with the key. The box seems to swallow the bedroom, then drops to the floor. Aunt Ruth enters the bedroom looking as if she heard a sound, but it is empty of even the box. In Diane Selwyn's apartment, the Cowboy tells her it is time to wake up.Diane Selwyn (Naomi Watts) wakes up in her bed one morning, apparently from a dream in which she was Betty, to the sound of someone pounding on the door. Donning a grubby bathrobe, she shuffles into the front room to answer it. It's the same neighbor Betty and Rita met, still impatient to collect the rest of her stuff from Diane's apartment. The neighbor gathers up her things and on her way out mentions that "those two detectives came by again, looking for you."At that moment, Diane notices a normal door key, coloured blue, on her coffee table. She then sees Camilla Rhodes (now played by Laura Elena Harring) in the kitchen, and is overjoyed until she realizes it is a hallucination. Diane and Camilla met on the set of a film. Both actresses auditioned for the lead role in The Sylvia North Story, but the role went to Camilla. The two became lovers and Camilla managed to secure small roles for Diane, but she was growing tired of their relationship and broke it off. This devastated Diane. Camilla's open flirtation on set with director Adam Kesher made the pain all the worse. The final humiliation came when Camilla invited Diane to a dinner party at Adam's house on Mulholland Drive. Camilla met Diane at the same spot where the accident occurred in Diane's dream and led her up the hill along a romantic secret pathway to the house. But once inside, Camilla kissed another woman (Melissa George) and announced her engagement to Adam in front of Adam's mother Coco (Anne Miller).Enraged, Diane hired Joe, a hit-man, to kill Camilla. Diane paid Joe the cash and showed him Camilla's headshot at Winkie's, where a waitress named Betty served them and a customer Diane dreamt as Dan watched them arrange the hit. Joe tells Diane that once he has completed the job, he will leave a blue key in her apartment -- the exact key that Diane has now found.At night, behind the restaurant, the creature with the blackened skin fondles a box identical to the one in Diane's dream. With reason to believe that the police are closing in, wracked with guilt, depressed and plagued by bizarre hallucinations, Diane commits suicide, shooting herself in the head and collapsing dead on the bed where Betty and Rita found Diane's corpse in the earlier fantasy.*****As the film begins, a surreal image of people doing the jitterbug is shown. The sound of a cheering crowd accompanies a ghostly image of a young blonde woman and an old couple, all of whom are smiling (apparently before said crowd). The final image of the blonde woman waving dissolves into a point-of-view shot, with the camera panning over a bed and moving into a pillow. The scene then fades black and switches to a street sign"MULHOLLAND DR."illuminated by headlights. A young, dark-haired woman (played by Laura Harring) is being driven up Mulholland Drive in Los Angeles late at night. She is threatened by two men inside the car with a gun. Before they can kill her, however, their limousine is smashed into by a carload of drag racing teenagers. The nameless, dark-haired woman suffers from a head injury and subsequent amnesia. As the sole survivor of the crash, she wanders down the hillside into L.A., finds refuge behind some bushes, and falls asleep. The next morning she awakes and sneaks into a vacant apartment. A young and perky aspiring actress named Betty Elms (played by Naomi Watts), who has just arrived in Hollywood from Deep River, Ontario, moves in and discovers her in the shower. It is revealed that the apartment, which is part of a complex managed by a feisty older woman named Coco (played by Ann Miller), belongs to Betty's Aunt Ruth, who is away making a movie in Canada. The dark-haired woman sees a poster for the movie Gilda starring Rita Hayworth and decides to call herself "Rita". She tearfully admits to Betty that she has amnesia, and together the two of them try to piece together her identity. While going through Rita's purse for clues, they discover $50,000 in cash and an unusual blue key.Betty (Naomi Watts) arrives in Los Angeles; pictured with Irene (Jeanne Bates)Strange, seemingly unrelated events follow. At Winkie's, a local diner, a man named Dan tells his companion Herb about a recurring nightmare involving a shadowy person living behind the restaurant. When Herb encourages Dan to confront his fear by exploring the rear parking lot, he encounters a terrifying figure and collapses from fright.One subplot involves the efforts of shady film executives to strong-arm a young, arrogant director. The director, Adam Kesher (played by Justin Theroux) finds his latest project stolen by men who appear to be mobsters, who show him a headshot of an unknown blonde actress named Camilla Rhodes (played by Melissa George) and order him to cast her as the film's lead. When Kesher refuses, his life is turned upside down. Returning home, he stumbles upon his wife in bed with the pool cleaner (Billy Ray Cyrus), who beats him up and throws him out of the house. Kesher checks into a seedy hotel, upon which the manager informs him there is trouble with his credit cards. Kesher then receives a call from his female assistant who informs him he is out of money, and that the film's cast and crew have been let go. The assistant also passes on instructions summoning him to meet "the Cowboy" at a ranch just outside of L.A. Kesher, skeptical but compliant, arrives and finds a threatening man dressed as a cowboy. He tells Kesher that he must give the role to Camilla Rhodes to avoid further trouble. At the next casting call, the actress whose headshot he had seen, Camilla Rhodes, arrives and auditions. The casting director asks him if he has something to say, whereupon Kesher obediently declares, "This is the girl."In another subplot, a bungling hit man steals a "black book" of names and addresses, leaving behind three dead bodies. He, along with two police detectives, are all trying to track down the dark-haired woman now known as "Rita".Meanwhile, Betty goes to a Hollywood acting audition and performs brilliantly. She is then taken to a sound stage where she catches a glimpse of Adam Kesher, who has just caved in to the mobsters' demands by hiring Camilla Rhodes for his new picture. Betty abruptly flees from the sound stage to pick up Rita, following a clue to the apartment of a mystery woman named Diane Selwyn. This leads to their discovery of a rotting corpse, which is presumably a murdered Diane. Rita, fearing that the same people who harmed Diane are after her as well, decides to disguise herself by wearing a blonde wig. That night, Betty and Rita become lovers and sleep together.Rita later awakens and insists that she and Betty attend a performance at an eerie midnight theater called Club Silencio, during which Betty begins shaking and both women cry uncontrollably. After Betty discovers a small blue box in her handbag, both women return to their apartment. Betty suddenly vanishes and Rita, finding herself alone, opens the blue box with the blue key from her purse.An emotionally hurt Diane (Naomi Watts) exchanges words with Camilla (Laura Harring). After this, an entirely new reality suddenly emerges. Betty wakes up and finds herself a depressed and lonely failed actress named Diane Selwyn. While alone in her apartment, Diane appears to flashback to recent traumatic events. Her former lover, an actress named Camilla Rhodes (now played by Harring), has abandoned her to pursue a life of riches and glamour by marrying a successful director, the same Adam Kesher who appeared earlier in the film. Feeling betrayed and humiliated, Diane meets the same hit man from the previous reality at Winkie's diner and pays him thousands of dollars in cash to kill Camilla. After receiving confirmation that Camilla has been killed (by the appearance of an ordinary blue key) and now under police suspicion, the guilt-stricken Diane loses her mind, is terrorized by hallucinations, and shoots herself.****Diane Selwyn (Naomi Watts), an idealistic, ambitious and naive young woman, wins a jitterbug dance contest in Deep River, Ontario, that offers a trip to Hollywood as first prize. Late in the film, we discover that Diane has traveled to LA to pursue an acting career but has been disappointed by most of her encounters with film industry people and has failed to find success. Instead she strikes up a romance with a charismatic and successful actress Camilla Rhodes (Laura Harring), who gets a big part Diane had applied for but uses her influence to get Diane bit parts.Camilla treats Diane carelessly, dumping her to marry her director Adam Kesher, as well as to pursue a new romance on the side with a young un-named actress. Things come to a head at a Mulholand Drive party hosted by Camilla and Adam to announce and celebrate their marriage. Diane, still in love and obsessed, is invited to the party by Camilla and the two arrive at the event by chauffeured limo. At the party Diane sees Camilla kissing a young girl (Melissa George) and confronted fully with what is going on, is devastated. In a rage at her lover's betrayal and her own humiliation, Diane hires Joe Messing, an incompetent hit man, to murder Camilla. At their meeting in Winkie's restaurant, Joe shows Diane a blue house key that she will receive as his signal when the hit has been completed. Diane retreats to her dumpy apartment, receives the blue key, and fueled by drugs and alcohol, loses her mind and begins to hallucinate as detectives investigating Camilla's murder arrive at the apartment and bang loudly at the door.The bulk of the film (presented first) is composed of Diane's elaborate dream-fantasy-nightmare-hallucination, in which she re-imagines herself as Betty Elms, a young, innocent and talented version of herself just arrived in LA from Deep River to pursue her acting career. Other individuals she has encountered in LA (including several from Camilla and Adam's party and two strangers seen in Winkie's restaurant) take on new parts in the fantasy.In the fantasy, other names are changed or switched among characters. Camilla becomes Rita (not her real name which she has conveniently forgotten but one borrowed from a Rita Hayworth poster the amnesiac happens to see). Most enigmatically, the unnamed girl kissing Camilla at Adam's party (Melissa George), Camilla's new lover and replacement for Dianne, becomes 'Camilla Rhodes' in the fantasy. The choice of the name fits with Diane's anger and jealousy at the girl and anger with Camilla, who has dumped her.The film, and the fantasy, begin with Diane's alter ego Betty arriving in LA and encountering 'Rita' = Camilla (Laura Elena Harring), a beautiful amnesiac car accident victim who conveniently has wandered into the apartment where Betty is staying. The imaginary accident site and chauffeured limo are identical to the real site where Diane and Camilla exited the vehicle to take a shortcut to Adam's hillside mansion for the party. Betty helps Rita investigate who she is and, also conveniently, Rita soon falls in love with Betty. In the course of their investigations, Betty and Rita discover a blond female suicide. Diane's fantasy includes some self-serving and gratuitous nudity by Rita (really the object of her obsession, Camilla Rhodes). Also gratuitously, Rita dons a blonde wig and makeup that morph her appearance towards that of Betty's.Related side-plots in Diane's fantasy conform to both her wishful and also her dark view of her world (herself as the hero, confronting a variety of bad people and saving a beautiful damsel in distress): Betty has an audition and performs brilliantly, briefly encounters director Adam Kesher with whom she makes an instant positive connection, mafia types and a menacing cowboy pressure Kesher to cast 'Camilla Rhodes' (not the real Camilla but the unnamed kissing girl from the party) in a part for which she is not qualified - the girl unfairly get's Betty's part. This last element fits with Diane's jealousy over kissing girl's replacing her as the real Camilla Rhodes' lover.In other vignette elements of Diane's fantasy, Joe the hit-man spectacularly and elaborately bungles a job, reflecting Diane's heterophobia, Kesher's spoiled wife Lorraine is having an affair with the pool cleaner Gene, and significantly a large stylized blue key appears as an evil sign. Reality intrudes into Diane's dream in the form of the symbolic big blue key, 'Diane' on a waitress's name tag at Winkie's, and most significantly the performance at Club Silencio in which Betty, terrified, is forced to confront reality. At this point Diane wakes up and the film flips to reality.Finally, the detectives are knocking at the door and Diane, overwhelmed by her situation (madness taking her, her fantasy a fiction, her lover dead, incarceration imminent), kills herself on her bed using a revolver - matching the pose and clothing of the blonde suicide discovered by her imaginary characters Betty and Rita.

Review: 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.
"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.
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.
If you're familiar with that style and like it, you'll find much to love here, although in many ways, Mulholland Drive is fairly understated for Lynch.
He lets his odd and surprising sense of humor poke through, such as the name "Winkie's", and the "Hot Dogs--made for Pinks" sign that provides a clue to some of the color symbolism.Lynch's attention to detail in production design provides important, subtle clues throughout the film to help one unlock the meaning.
It's interesting to note that Lynch even apparently demands that the DVD programming be unusual--there are no chapters on the disc; you must either watch the film in real time or fast forward or rewind to get back to particular points.If the surrealism and veiled meaning of the film are attractive to you, or if you're just fond of "puzzles", then Mulholland Drive is well worth watching for that aspect.
Many articles and monographs have been written on the film and interpretations; there are even websites dedicated to it.For my money, however, although I generally love Lynch and find many things about Mulholland Drive attractive, it is not quite a 10 for me, at least not yet (I have a feeling that my score could still rise on subsequent viewings).
The next year, David Lynch received money to film new scenes to make the movie suitable to be shown in theaters.
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.
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.
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.
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.
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.
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.
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.
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.
This movie is actually based on a straight-forward, symbolism-free story that tricks you with the idea it's a dream by adding mysterious characters doing things you can only guess how and why, but indepedently of their reasons you can clearly understand their intentions, and by adding multi-explainable plot twists that all in all lead to nowhere.So it's basically a film that acts like mindless suspense and soap opera at times.
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!
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.
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.
Mulholland Drive ( David Lynch, 2001), one of the most ambiguous films to be unleashed upon contemporary audiences, dare one say "abstract" even.
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.
And like I said the ending isn't truly one of those that makes people think rather people end up scratching their heads and wondering why they wasted 2 hours on the movie and also how it's rated so high on this database..
From a general standpoint, no other film has left such a lasting impact on me like Mulholland Drive; it's dreamlike story which also boasts some unique horror elements have not left my mind since I've watched it and probably won't ever do so, which I'm not entirely opposed to.Lynchian visuals are always going to be one of the highlights of any Lynch film.
A film director who has a very specific idea for a story and sticks to it all the way through is deserving of all the praise they can get, especially when done in a successful fashion such as Mulholland Drive.The two biggest schools of thought about films are that they should either be politically and/or socially significant in its portrayal of certain relevant ideas or that films should depict a "magical" world that the viewer can immerse themselves into for a while and think on the experience afterwards.
We all love to have our minds toyed with but sitting through a David Lynch film is like having your brain removed entirely.
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.
(2001) really feels closer to a dream than a movie.To say that David Lynch has a unique cinematic style would be an understatement - as a result, his films can be extremely hit or miss with people.
Mulholland Drive is a movie which engulfs the viewer in its intricate mystery plot like no other and leaves you with a load of memorable, haunting or outright shocking images you will never forget.
As often with an eccentric filmmaker's work, this is a movie to only get going in your head once it's already over, and if you're willing to get immersed in it.Lynch's masterpiece invites to dig deeper, to uncover new layers, hidden references, multiple interpretations.
I do not know how Lynch manages to make every shot so full of mystery and menace, and although a lot of it is down to brilliant editing, the only real answer can lie in saying simply: 'That's a genius at work.' If only he were less unruly in some of his other films, or had somebody to restrain him from his excesses!
David Lynch is the sort of filmmaker that approaches his movies with no nonsense; everything he puts into them is important and he wants you (the audience) to know that right from the start (with the exception of Dune).
Is this a dream, the vision of a crazed woman seeking Hollywood glamour and glory, a metaphor on studio executives abusing their power affecting the lives of EVERYONE around them, or could this all be a twisted spiritual sequel to Sunset Boulevard?Whatever you make of Mulholland Dr., there's no disputing that it's a memorably confronting neo-noir classic that's been dissected and assessed ever since it came out in 2001, and it's sure to keep raising questions instead of answering them like a regular movie would.
Mulholland Dr. is not a mainstream movie; it's a film that famously transformed a failed television-pilot into a feature film, and this transformation actually benefited the struggling actress story-line that Lynch was going for in the first place.
And Mulholland Dr. is a surprisingly strong LGBT movie that deserves to be seen by more of the modern LGBT community.This is a great film noir and an example of Lynch's skill in making celluloid dreams stay with you long after you've seen the movie through to the end.
But David Lynch is the only 'mainstream' director at the moment that still makes movies this way.
It's the reason why he has such an huge following and every time a new Lynch movie gets released people go nuts over it, even when they have no idea what they have just seen.And no, I also really have no idea yet what I have just witnessed.
He just loves to mess with people's minds, so it isn't even completely unthinkable that some elements of the movie were never supposed to make any sense at all and he's laughing at all of us for trying to explain his movies.But really, this is a movie you could talk about for all day long but in the end it really is something you have to experience for yourself and form your own judgment and interpretation on it.
But let me just tell you that no matter how confusing this movie, you still get intrigued and sucked in by it, due to the way it all got shot and told by David Lynch.
Movie has some sexual acts that some may find disturbing, but again its mind field, in the world of mind-field anything is possible, we all have fantasies, we all have hallucinations, we all have objects of affections.Many of the elements seem apparent but they really have deeper meaning to them, like "It is an illusion " or Silencio at the end.
Its very hard to know what David lynch want us to think, but i love the movie so much that i don't even care.
I have what people like to call an open mind toward movies as I established with Freddy Got Fingered and Memento, but this was just two and a half hours of my life that I want back and I waste my life..
It is just presented in a messed up way as an attempt to make it hard to understand and make the movie look intellectual.Mullholland Drive is not enjoyable to watch.
It's typical David Lynch, with bad acting that would only fly in a 1950's sitcom, and a plot that is written solely to make you wonder what's next, yet really has a story behind it, and never goes anywhere.If you liked Twin Peaks, you'll love this.
Well among the things that suck are, the plot, the direction, getting the best work from good actors/actresses, the discontinuity in what could be awesome visually relevant scenes, the subplots that do nothing except show their faces, the characters that seem interesting but aren't played out, etc.David Lynch has a talent, don't get me wrong.
But he also manages to drop the ball on ALL of them, as in most of his works!If ANY other director could manage to collect even half of the elements in a David Lynch film into one movie, and make them work, it would be a blockbuster!
The film certainly doesn't take the viewer by the hand and lead them through step by step, instead it leaves things up to their own interpretation, making it necessary for their own neurons to participate in the process of creation, not unlike in an abstract painting.We see movies all the time with plot holes the size of mac trucks and silly premises, but this is not what we have here.
20 years later, work like "Mulholland Drive" comes off as a 2.5 hour David Lynch masturbation piece.
I tend to like so-called "art films" and don't have any need for all of the loose ends in a movie to be neatly tied up.
The acting, except for Naomi Watts, is horrid.I wasn't a fan of David Lynch before this movie.
Now, I am all but certain I will never waste time with a David Lynch movie again.
I saw Mulholland Drive expecting to see a David Lynch film.
 and Mulholland Dr. was coming to an end.Or as the Cowboy Angel said, `Oh no, no, I've seen this movie before.'I used to be a David Lynch fan, but somewhere along the way, what used to seem cool and mysterious began to seem silly and pretentious.
You can see the light at the end of the hallway, a soft glow, and you know that something wonderful or terrifying (or both) is waiting for you just around the corner.That kind of uneasy excitement is what I felt throughout the entire running time of Mulholland Drive, which may be the best film David Lynch has ever made.
After I had seen "Mulholland drive" I felt that it had been a complete waste of time.The movie has a fine beginning.
You are presented to a story which seems to be interesting enough, but when you have spend half your time wondering when the plot really will begin, the movie takes a bad turn.
Thankfully I was able to convince the theater manager to give me a refund."Mulholland Drive" is nothing more than Lynch's half-baked notions about the dark side of Hollywood and after watching several of his films I am convinced the man cannot tell a story to save his life.
I would love to write an intelligent, detailed analysis of Mulholland Drive, I really would, but since I haven't got the slightest idea of director David Lynch's intent (other than to completely confound the viewer), I'm going to have to pass.
The movie may be thought-provoking, but I don't think David Lynch deserves any credit for creating a confused audience by throwing out the plot.
Well, it is very easy to create dreams and confusing plots and then tell the viewer, "figure it out." I don't want to figure it out, not when you don't give me the clues I need or a sensible script to work with.Mullholland Drive is a disaster, a terrible movie that seems to be filmed in real time.
"Mulholland Drive" is Lynch's most powerful and stunning work since his 1986 masterpiece "Blue Velvet."  The film combines the mysterious noir elements of "Blue Velvet," the dream-like horror of "Fire Walk With Me," and the bizarre structure of "Lost Highway."  People going to see this film expecting everything to tie up in a nice little bow at the end will be severely disappointed.
However, anyone who wants to take a strange and wonderful trip that sucks you in and keeps your mind churning for weeks afterward are going to love it.Lynch has clearly proven himself as a narrative storyteller with such films as "The Elephant Man," and "The Straight Story," and now he is taking the art of filmmaking in a new direction.
Others, who are more open minded to entering a dream world where things are so real and yet so unreal at the same time, are going to watch this film over and over and over.
"Mulholland Drive" the film works the same way, except this time we are experiencing Hollywood and human nature from the point of view of David Lynch.I think that with the right distributor, this film could do very well.
So what is it people see in David Lynch, the man himself doesn't know what his movies are about.
David Lynch's never finished TV project/pilot turned into this movie, Mulholland Drive (2001) after more money was given by new producer and additional scenes filmed and the whole thing re-edited.
I won't go into trying to explain what exactly happens in the story and who is after all who, I will write about this piece of cinema and what Lynch has managed to give us this time with the magic of his art; his films are much more than just solving new and complex mysteries.Without spoiling anything, I can only tell that Betty (Naomi Watts) and Rita (Laura Elena Harring) are the two leads here.