"A classy return to the Lynch vernacular: ‘Weird’, ‘wonderful, ‘disturbing’"
This is no Straight Story. With an excusable potential pitch of Lost Highway meets Twin Peaks, Mulholland Drive is a classy return to the Lynch vernacular: ‘Weird’, ‘wonderful, ‘disturbing’ and ‘dreamlike’.Defying simple description (it’s a thriller, love story, film noir and some), the film transverses the crevices of the afflicted world of Hollywood. Its changing character abstract plot, mixing with multi cast scenarios never leaves clues to what’s around the corner. At it’s core, is the captivating and curious relationship between Betty, discovering Hollywood as naïvely as Dorothy did the Land of Oz, and Rita, a sassy and intriguing amnesiac femme fatale.
The respective multi-faceted performances of Naomi Watts and Laura Harring are tremendous, as they get to play more range than most actresses do in a career. In the shadows of their relationship, episodic set pieces run in unison, but Lynch saves them from being mere leftovers from the originally planned TV pilot by ambiguously weaving them into the mix, to provide further metaphysical head-trips and enigmatic humour. Aided by a Badalamenti score of epic proportions, and stalking camera work, the film has an ingrained spine of brooding suspense that adds to the director’s arcane and cryptic intent.Twisting and turning, and difficult to stay on, Mulholland Drive is a rewarding road to ride, even if your final destination isn’t sign posted. (David Michael)