HOME THEATER & SOUND -- Movie Review

Mulholland Drive
****1/2
reviewed by Doug Schneider

Leave it to David Lynch to once again deliver the unexpected. Lynch is known for bizarre movie treats such as Blue Velvet, Wild at Heart, and Lost Highway, as well as the groundbreaking TV program Twin Peaks. His films always seem to deliver the unexpected, usually something outrageous or, at the very least, exceedingly strange. But at least once, he didn’t even do that. His last movie was called The Straight Story. Without a hint of his Lynchian style, he told the story of Alvin Straight with straight-as-an-arrow storytelling and direction. Fans of his work sat through it waiting for something odd to happen. It didn’t, and, as a result, Lynch surprised us once again by giving us something we didn’t expect to see. With Mulholland Drive, perhaps his best work yet, he delves back into the surreal and delivers a showcase that in ways embodies most of his life’s work.

Mulholland Drive begins with a drive down that very street that results in a severe car accident. A woman crawls from the wreckage and makes her way to a residential neighborhood. After a series of events, she befriends a woman named Betty. Betty has come to Hollywood from Canada with dreams of becoming a movie star. The woman from the accident can’t remember her name or where she lives. She "lifts" Rita Hayworth’s first name from a movie poster and for the time being uses that. Her and Betty then set out to find her identity.

Like some other Lynch films, the storytelling can leave you somewhat dumbfounded. What I’ve told you is just the beginning of this story (if you can call it that). What happens after is a lot of plot twists and turns -- some small, others huge. As for the huge ones, once they happen you’ll begin to wonder if what you saw before is real or imagined. You will also wonder if the film makes any sense. I don’t think we’ll ever know, but I also don’t believe that’s the point.

I suspect that digging too deep and trying to interpret the story will be for nothing. In Lost Highway Lynch did an about-face midway through the film and actually changed the lead character. One moment he’s a middle-aged man in a jail cell, the next moment he’s a young teenager. Why? Many people tried to come up with plausible explanations, but Lynch’s own is the most telling. In an interview later he said he had no real reason for it, he just did it. Interpret what you want; chances are Lynch simply pulled one over on you. Or perhaps he is pulling one over on us again in the interview? Whatever the case, I think that reading too much between the lines here will leave one frustrated for no good reason.

Mulholland Drive is more an experience than a story. Like Lynch’s best work, it has great scenes of visual and aural splendor that captivate an audience. And despite the fact that it sometimes turns in nonsensical ways, for whatever reason, it’s just too darn compelling to turn away from. This is one of this year’s best films and it gets a ****1/2 rating.

 


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