In this post, I will quickly explain what you need to know about Mulholland Drive. If you want to know more! There is a separate post where you get Mulholland Drive explained more in detail.
After all, each film is so lovely and selected with such care that it can only come from a bright mind truly enjoying and knowing Cinema at its finest. Except for the disastrous Dune, Mulholland Drive is the apex of Lynchian poetics. The author’s aesthetics can no longer continue beyond this stage. It’s no surprise that the filmmaker’s subsequent two films, Inland Empire and Twin Peaks: The Return, are extensions of this and previous Lynch films. That doesn’t mean Mulholland Drive is Lynch’s finest or that his subsequent works don’t live up to expectations; it only means this film represents a turning point.
The broadcaster was dissatisfied with the video and opted to terminate the project. Lynch reassembled the unpublished pilot, turned it into a feature, and released it in cinemas in 2001. Funny how the most praised film of the past two decades began as a rejected TV proposal.
A lady loses her memories after surviving a horrific car accident on Mulholland Drive. In a home owned by a Hollywood star, she meets a girl wanting her wealth who attempts to protect her realize who she is. Meanwhile, a famous director is blackmailed into hiring their favorite actress in his film, and a terrifying creature terrorizes an unidentified guy.
What this movie shows us?
Mulholland Drive, like Shutter Island, is a picture of dissociation, but unlike Scorsese, Lynch is more interested in the oneiric dimension than the human one. Trauma, Dream, and Trauma as Dream. A dream, and therefore a trauma, is studied in detail in Mulholland Drive on three levels: Reality, Dream, and Subconscious. This occurs without explanation, allowing the spectator to arrange everything in a certain sequence (as happened in Lost Highway). There is no mystery, no suspense, no odd human tragedy. To enjoy and comprehend the film, one must surrender to the flow and join the dream.
Diane Selwyn (Naomi Watts), an aspiring Hollywood star, just terminated her affair with Camilla Rhodes (Laura Harring), a well-known actress who helps her obtain small parts in numerous movies. It’s a surprise when her ex-girlfriend shows up on Mulholland Drive to take her up to an event at the home of Adam Kesher (Justin Theroux), the director of their forthcoming picture. Diane’s astonishment when Camilla and Adam reveal their engagement leads her to seek a hitman to murder her. The murderer hands her a blue key, which means the deed is done. As a result, the opening 2 hours of Mulholland Drive are devoted to Diane’s dream with her subconscious mind’s struggle with their love affair and guilt for having Camilla murdered.
Mulholland Drive is steeped in classic Cinema, beginning with Alfred Hitchcock’s Vertigo – whose interplay between characters served as the basis for Lost Highway – and proceeding with the tone and overall aesthetics of the film, in which we see all the characters moving, talking, and even dressing and combing their hair as if they were in an old-fashioned film noir, despite the story’s contemporary setting. This stylistic choice, combined with the timeless atmosphere created by the artist, allows this great masterpiece to remain unaffected by the flow of time, effectively making it immortal. Any true cinephile would consider this to be their crowning achievement.