Mulholland Drive

Mulholland Drive ★★★★★

BUT WHO IS THE DREAMER?

The best thing Lynch ever made was the shot that plays under The Return’s ending credits, but this is a close enough second. 

I don’t know why—maybe because I’ve recently spent significant time in, if not Lynch’s headspace, per se, then my own headspace curated under his influence—but I was never too lost or bewildered here. It made for a great first viewing, as I felt myself fully swept up in each beat and development and “along for the ride” in a way I haven’t been in a long time. Realizing such as I finished the film made me worry that, now lacking the invitation to be “solved,” it wouldn’t be quite as effective to return to, but then I rewound back through it looking for something and by chance landed on Betty’s arrival to the film set: needless to say, a scene that plays very differently in retrospect, one to make me quickly realize how silly that was and wonder what else is waiting to be totally recontextualized with the third act in mind. 

Last thing for now: can’t emphasize how deeply I’m in love with Lynch’s ability to make his films explicitly about something (and many things) without sterilizing them down into narrow specifics. Creating the kind of thematic web that invites AND sustains a myriad of readings and also functions as a flawless cinematic experience takes a kind of actual genius that I can’t even comprehend. I didn’t expect to ever be a sincere Lynch guy, but I think I’m getting there.  

PS: if anyone doubts that this is, among many other things, a Twin Peaks film about the Black Lodge, consider that LP is totally sitting in the audience at Club Silencio, and that the Hobo is totally one of the Woodsmen.

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