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Mulholland Dr. (2001)
Runtime: 2 hrs 27 mins
Synopsis: David Lynch strikes again with this literal nightmare of a motion picture--a brilliant, scathing, hysterical, and haunting ode to Hollywood. In the film, a mysterious dark-haired woman (Laura Elena Harring) emerges from an accident with a purse full of cash and a head full of amnesia.... David Lynch strikes again with this literal nightmare of a motion picture--a brilliant, scathing, hysterical, and haunting ode to Hollywood. In the film, a mysterious dark-haired woman (Laura Elena Harring) emerges from an accident with a purse full of cash and a head full of amnesia. Meanwhile, Betty Elms (Naomi Watts), a wide-eyed gal from Deep River, Ontario, has just landed in Los Angeles with dreams of movie super stardom. When Betty finds the nameless beauty in her aunt's apartment, she is deeply intrigued by the situation and offers to help her. This sends the two women on a bizarre search for the truth through the macabre, sun-soaked streets of the City of Angels, where the mob, a young film director (Justin Theroux), a studio executive with a tiny head, and an enigmatic figure named the Cowboy all float into the picture, then out again, until there is no longer any distinction between what is dream and what is reality. Originally filmed as a pilot for ABC, Lynch's daring, open-ended vision was coldly rejected by the network. As he was about to abandon the project, French producer Pierre Edelman convinced Lynch to rethink it as a feature. The result is this stunning expression of the subconscious, a testament to the power of personal artistic vision. [More]
Genre: Dramas
Starring: Laura Harring, Naomi Watts, Justin Theroux, Ann Miller, Robert Forster
Screenwriter: Joyce Eliason, David Lynch
Producer: Mary Sweeney, Alain Sarde, Neal Edelstein, Michael Polaire
Composer: Angelo Badalamenti
DVD Info
Release:
Apr 10, 2005
D-VHS Features:
- Note: D-VHS VCR hardware required.
- Anamorphic Widescreen - 1.85
Audio:
- Dolby Digital 5.1 Surround Sound - English
Reviews
'Every scene groans with oppressive dread and glitters with black humour.'
Pounces around in our imaginations, leaving us unsure of what just happened, but nonetheless affected.
This shows signs of being a lasting work, a film that shifts and changes along with the viewer, upon which all commentary is necessarily provisional.
Sure, you might not buy it, you may still decide Mulholland Drive is drivel, but it's beautifully elegant drivel.
As moviemaking -- as pure abstract art writ large -- this is a classic, a thing of dark mystifying beauty.
A summation work at midpoint career, this visually menacing horror picture, which deconstructs Hollywood as the dream factory, continues to explore such Lynchian obsessions as good vs. evil and dreams vs. nightmares; it also put Naomi Watts on the map
As art, Drive is extraordinary. As a film for general audiences, it's bound to be misunderstood, condemned as pornographic, or exploited for cheap thrills.
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