I finally watched this drek last night and counldn’t agree more. Just weird shit for the sake of weird shit if you ask me, complete with the requisit Lynch midget, mysterious box and strangely lit rooms with curtins for walls. Fuck you, David Lynch. I won’t waste any more of my time on you!
That being said, I would like to say that it wasn’t a complete waste. Laura Elena Harring is distractingly attractive! She knocked the wind out of me! I was racking some homebrew when the lesbian sex scene came on and I lost control of the siphon tube and made a little mess on the floor. At least thats my story, and I’m stickin’ to it!
I don’t feel well. For lunch, I ate a salad with cucumbers and garmonbozia beans.
I loved Mullholland Drive – especially the third time.
Zoggie, if you think David Lynch is disorienting, you should try Alejandro Jodorowsky sometime. Or maybe Andrei Tarkovsky. Those dudes make David Lynch look like Frank Capra.
No, Mullholland Drive is not a real film. It is yet another insipid, pretentious piece of schlock by a talentless hack who hides behind the excuse of “art” to get away with creating drivel. Like Lost Highway and every other waste of time this schmuck has inflicted upon the film loving world, it is boring, nonsensical, meaningless garbage. I keep wanting to like David Lynch, so I can be friends with the in-crowd, but I keep failing. Woe is me for having taste.
Actually, the “mysterious box” was one of the big clues in the film (so IMO definitely not tacked on for “effect”, like you’re implying). It contained a BLUE KEY, for crissakes! That’s like saying to the audience: “all of this takes place in the comforting unreality of a Hollywood basement”. I’m not saying Lynch doesn’t make some of this stuff up out of thin air. I’m saying that if he does, he does so on purpose, to make the movie experience something more than a childish “fill in the blanks” exercise that some people expect from symbolism.
Gatescopado, if “not wasting any more time on Lynch” means missing out on “The Straight Story” and “The Elephant Man”, then you’re sorely mistaken. These are truly two of the hallmarks in emotional cinema.
Mulholland drive is a beautiful, multi-layered, moving film. The scene in which the woman is masturbating while she’s crying her eyes out has got to be one of the most emotionally packed scenes I’ve ever seen. The threat of the hobo behind the diner is one of the most genuinely scary things in movie history.
Memento is your yardstick for measuring how much a movie sucks? :eek:
Because I’m such a huge fan of Memento, which did a fantastic job of making me feel like I suffered from the main character’s problem, I’m wondering: What movies do you consider to be great?
Mmmm, lesbians…
Actually I am stunned by the idea that you could think that Memento was a horrible movie but I guess to each his own. As far as Mulholland drive is concerned I really liked it. In fact I liked it enough to get on a David Lynch kick and rent a number of his movies. Blue Velvet is a fun little ditty too. I found that reading this really helped me enjoy Mulholland drive. Maybe it will be a help to you too. If you do a search for the movie at salon.com you will find quite a few interpretations.
At the risk of sound exceptionally dense (I saw MD this weekend for the first two times and it made my head hurt. Still hurts):
could somebody post spoilers, or links to spoilers?
If MD makes sense on some post-linear level, IOW, could you maybe share what the sense is, instead of tossing terms like fun" (to those of us who didn’t have much fun), “dream-like” (for those of us whose dreams make far more sense, at least to us), “forced me to think” (to those of whose minds resist force), etc.
I’ll check out the Salon site, but I’d rather deal with people who are available to support what they say, and to answer followups.
To me, an artist’s skill is to make complex art that seems deceptively simple. Lynch doesn’t seem to think that’s part of his goal.
It is, as noted, a good place to start. I feel I understand twice as much as I did in my previous post, which is to say I still understand very little about the movie.
If you really want to delve into the richness of meaning of i]Mulholland Drive*, you might want to check the forum at [http://www.rottentomatoes.com/m/MulhollandDr-1110157/forum.php]Rotten tomatoes. I once spent a weekend reading all the stuff there. The posters there have developed and discussed amazing theories about the background of the characters, the whereabouts of the aunt, the meaning of the club scene and the blue box, and much more.
Alternatively, you may find it an overly academic discussion of an overrated movie. I did like it very much, however.
Mulholland Drive introduced me to Naomi Watts. I thought the movie was so-so but I found her performance to be outstanding. She deserved an Academy Award nomination, IMO.
Just checking in to say I consider Mulholland Dr. to be the best movie of 2003. And I’m not normally into very experimental movies, or any kind of very experimental art for that matter.
Mulholland drive is a beautiful, multi-layered, moving film. The scene in which the woman is masturbating while she’s crying her eyes out has got to be one of the most emotionally packed scenes I’ve ever seen. The threat of the hobo behind the diner is one of the most genuinely scary things in movie history.
Thus my entire problem with this movie. Two apparently pivotal scenes that make no sense in the context of the story.
Or The Elephant Man, which he directed right after Eraserhead. That always struck me as amusing. One of his most messed up movies followed by one of his most normal ones.
