To say that David Lynch's "Mulholland Drive" is one of the quirkier films of 2001 would be a masterpiece of understatement. A more imperfect example of linear storytelling probably cannot be found, yet it remains compelling and fascinating. By the film's end, however, the resolution to the fantastically surreal visions we have witnessed seems contrived and something of a cop-out.
Beginning with what seems to be a scene from a completely different film (wholesome teenagers doing the jitterbug), "Mulholland Drive" establishes its clarity-be-damned style from the get-go. We are then introduced to a sultry brunette riding in the back seat of a stretch limousine. The ride abruptly ends when the gun-toting chauffeur seems about to perform a "hit"...but those plans are foiled by a head-on collision with joy-riding teens.
Escaping with a nasty gash on her head, the brunette staggers her way to Sunset Blvd., hooks up with perky blonde Betty (an aspiring actress) and attempts to unravel the mystery of her amnesia. Taking the name Rita from a movie poster of Rita Hayworth as "Gilda," the mystery brunette gives us a not-so-subtle clue that she just might be a femme fatale. Along the way, we are treated to a dizzying array of images and seemingly disconnected scenes--all of which make sense once you see the denouement.
POSSIBLE SPOILERS TO FOLLOW!
Although the ending tied up most of the loose ends, that's precisely why it strikes such a false note: for 90% of the film, Lynch creates a world of beautiful, baffling images...to have them tidily explained away is akin to being told there is no Santa Claus. Leaving us dangling would have been deliciously frustrating; instead, the ending left me incredibly dissatisfied.
That aside, the first 2 hours of the film are worth the ticket price. The cast of unknowns is excellent, particularly Naomi Watts, who has a radiant screen presence and the ability to change moods on a dime. She may emerge as an underdog Oscar nominee, an honor she would most definitely deserve.
Laura Harring is sexy beyond belief, although her line readings are stiff and halting; OK, so she's playing an amnesia victim--she still could have injected a little more life into her character. Still, she is undeniably photogenic. Justin Theroux is dry, funny and thoroughly engaging as a likably self-absorped film director whose sudden plunge into a nightmarish dreamscape of strange mobsters, double-crossing wives and philosophical cowboys may or may not be connected to the Betty/Rita plotline.
There are also wonderfully weird cameos by the likes of Ann Miller, Lee Grant, Chad Everett and Billy Ray Cyrus, adding to the carnival-like atmosphere. The haunting score by Angelo Badalamenti (who also cameos as a hypnotic, sinister-yet-sexy performance artist) is complimented by two 60's kitsch classics (Connie Stevens' "16 Reasons" and Linda Scott's "I've Told Every Little Star" never sounded so subversive) and a stunning, a cappella version of "Crying," delivered in Spanish by Rebekah Del Rio. This performance is one of the high points of the film.
"Mulholland Drive" was originally intended as a TV series, along the same lines as the (in)famous "Twin Peaks." It's perhaps a pity that those plans didn't develop; wrapping up all these wonderful twists and turns in a neat, 2 1/2 hour package just doesn't seem fitting.
Beginning with what seems to be a scene from a completely different film (wholesome teenagers doing the jitterbug), "Mulholland Drive" establishes its clarity-be-damned style from the get-go. We are then introduced to a sultry brunette riding in the back seat of a stretch limousine. The ride abruptly ends when the gun-toting chauffeur seems about to perform a "hit"...but those plans are foiled by a head-on collision with joy-riding teens.
Escaping with a nasty gash on her head, the brunette staggers her way to Sunset Blvd., hooks up with perky blonde Betty (an aspiring actress) and attempts to unravel the mystery of her amnesia. Taking the name Rita from a movie poster of Rita Hayworth as "Gilda," the mystery brunette gives us a not-so-subtle clue that she just might be a femme fatale. Along the way, we are treated to a dizzying array of images and seemingly disconnected scenes--all of which make sense once you see the denouement.
POSSIBLE SPOILERS TO FOLLOW!
Although the ending tied up most of the loose ends, that's precisely why it strikes such a false note: for 90% of the film, Lynch creates a world of beautiful, baffling images...to have them tidily explained away is akin to being told there is no Santa Claus. Leaving us dangling would have been deliciously frustrating; instead, the ending left me incredibly dissatisfied.
That aside, the first 2 hours of the film are worth the ticket price. The cast of unknowns is excellent, particularly Naomi Watts, who has a radiant screen presence and the ability to change moods on a dime. She may emerge as an underdog Oscar nominee, an honor she would most definitely deserve.
Laura Harring is sexy beyond belief, although her line readings are stiff and halting; OK, so she's playing an amnesia victim--she still could have injected a little more life into her character. Still, she is undeniably photogenic. Justin Theroux is dry, funny and thoroughly engaging as a likably self-absorped film director whose sudden plunge into a nightmarish dreamscape of strange mobsters, double-crossing wives and philosophical cowboys may or may not be connected to the Betty/Rita plotline.
There are also wonderfully weird cameos by the likes of Ann Miller, Lee Grant, Chad Everett and Billy Ray Cyrus, adding to the carnival-like atmosphere. The haunting score by Angelo Badalamenti (who also cameos as a hypnotic, sinister-yet-sexy performance artist) is complimented by two 60's kitsch classics (Connie Stevens' "16 Reasons" and Linda Scott's "I've Told Every Little Star" never sounded so subversive) and a stunning, a cappella version of "Crying," delivered in Spanish by Rebekah Del Rio. This performance is one of the high points of the film.
"Mulholland Drive" was originally intended as a TV series, along the same lines as the (in)famous "Twin Peaks." It's perhaps a pity that those plans didn't develop; wrapping up all these wonderful twists and turns in a neat, 2 1/2 hour package just doesn't seem fitting.