What the bloody HELL was that all about. Laughs of derision from some areas of the audience. "Was that it ?" etc.
3 hours down the line and I think its up there with some of his best, however this has been greatly helped by the guide in November's Sight & Sound to the shenanigans that pass for a plot
Got it about half an hour ago after that Betty's entrance into Hollywood was not as easy as all that and she therefore had to become a waitress and hooker to make ends meet - the cowboy is her pimp and its her body on the bed - but you had figured all that already hadn't you Ronan ?
Obviously far more Lost Highway with the whole dual identity moniker
Yeah I realised that it was her on the bed, but I initially thought that when 'Rita' opened the box, we were taken back to the beginning of the story, leading up to the attempted assasination and that Betty was a manifestation of Rita's psyche due to the trauma of the car crash.
This, however, does not explain who the person who took Rita in was, if Diane had shot herself, and why didn't Diane's neighbour recognise her? And who the hell was the tramp with the burned face?
Aside from this though, Naomi Watts was sensational and I can see why she has been promoted to Best Actress from Supporting Actress in the pre-Oscar push. Justin Theroux's was similarly impressive, his facial reactions to the Cowboy's demands simply priceless.
5 people out of approx. 20 walked out 30 mins before the end which is always a great sign at Lynch's movies (at a screening of Blue Velvet last Sunday a similar percentage walked out during Frank Booth's trip to see Dorothy's son!)
I posted this in a thread in the Movie forum on Friday but it's more suited here I suppose:
Just got back from a sold out showing at the Covent Garden Odeon and I can certainly recommend Mulholland Drive. But then again, I'm a huge fan of Lynch's work so I kind of knew what I was in for.
My only gripe was that the film didn't have enough menace unlike a lot of his previous work and contained too many 'comedy' moments. It reminded me of Tarantino in places. But it would be a shame if all his films were the same. It still pays off in spades if you allow yourself to be carried along and just like his other movies all the pieces seem to fit except one - now matter how you arrange them. I can't wait to see it again just to pick up on the details I missed.
So definitely catch this one if it's playing near you. I was very shocked to see that it's hardly showing at all across London considering it has received four Golden Globe nominations and has gained almost exclusively positive reviews. Maybe with 20 showings a day for LOTR it's hard to find space for something like this!
All in all 8/10 from me.
...everything under the sun is in tune, but the sun is eclipsed by the moon...
There's a good 'explanation' of this film at http://www.salon.com/ent/movies/feat...rive_analysis/ which I would mostly concur with, although I dont think its a good idea to try and pin down too much of the meaning of a Lynch film. Dont read it if you havent seen the film though.
any ideas where is a good place to get a really detailed view of the elements of this film?
I fall into the category of "irratated because it doesn't quite make sense to me yet" and I can't put it down to "these things are sent to try us" ;-)
Does lynch ever go on record to explain any of his films? or does he just leave us to worm in our misery?
So far reading the imdb discussion is pretty depressing with the "its all a load of rubbish" views closed matched by the "i have a superego and realised its all a dream" neither of which is much use for trying to work it out ;-)
The biggest mistake you can make with Lynch’s films is “trying to work it all out” – that’s not how he works (which is why you’ll never hear a Lynch commentary track), and it’s not how an audience should approach his films either.
In fact, from Fire Walk With Me onwards he seems to have got in the habit of deliberately throwing in elements that contradict each other, just to confuse people who are determined to make sense of it – and this technique seems well to the fore in Mulholland Drive.
Probably the best advice I can offer is that which Luis Buñuel gave to people who kept badgering him about what was in the Chinaman’s box in Belle de Jour - “whatever you want there to be”. In other words, find an interpretation of Mulholland Drive that you’re happy with, and stick with it – and don’t worry about what anyone else thinks!
(I’m writing the DVD Times review now, and at the moment it’s probably going to be a qualified rave – “qualified” in the sense that I absolutely loved it but would be the first to acknowledge that it’s Not For Everyone!)
Lynch fans, should of course, be reading Wrapped In Plastic for the latest news, reviews, analysis, etc. You can get information at www.wrappedinplastic.com but copies direct from the States are expensive. In the UK, you can pick it up at Tower Records and your local comic shop can get it via Diamond Distribution.
The latest issue (#56) has a 15,000 (!) word essay on Mulholland Drive. Should give you enough to think about.
It's a great ride - although, as I'd read the pilot script a few years back, its patchwork progress shone through.
Lynch stated that the 'answer' just came to him when it looked like his pilot was dead and buried. That 'answer' was to basically give it the EXACT same underlying concept as Lost Highway, just shifting the 'reality' section from the first 30 mins to the last 30.
It gets a thumbs up from me, but maybe not right up there with Lost Highway due to its nature. It really was supposed to be much longer and different than it is - but the individual scenes are so strong that it doesn't matter too much. The scene in the theatre was classic Lynch!
It felt to me like Lost Highway was like (Wayne Wang's) Smoke and Mulholland Drive felt like Blue In The Face - if that comparison makes any sense (not an exact comparison to the Wang films themselves!)
I initially, and horribly uncharitably, thought it was Lynch's Cherry, Harry and Raquel - to cite the legendary Russ Meyer film where the lab wrecked a fair amount of footage that couldn't be reshot, so Meyer simply took a naked large-breasted woman into the desert, shot her in a variety of strange poses (as a receptionist in the middle of some railway tracks, running through the sand with a saxophone on her head) and cutting this material into the rest of the feature - the editing being so dazzlingly effective that you initially don't realise that the film doesn't make any coherent sense whatsoever.
But, to be fair, Mulholland Drive is a lot better than that - though I wouldn't trust anyone's snap judgement when it comes to this particular film: you need to let the last 30 minutes thoroughly percolate into your brain first of all, and that takes hours rather than seconds!
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Thanks IanM for that link. As much as I love Lynch movies and as familiar as I am with the genius of Lost Highway, it's still just a few fresh hours since I saw this and I needed some other opinions. Back later.