Wednesday, February 17, 2010

548 - You Aught to Know - Mulholland Drive - #13 (tie)



Mulholland Drive, David Lynch, 2001, 29 points

It may not make much outward sense, but there’s definite inward rhythm – the whole film feels like a wicked piece of free jazz by a talented ensemble. You may not know where it’s going, but it does all mean something. What that is, well, that’s up to you. David Lynch isn’t telling, and he may not even know the whole answer – he’s interested more in asking questions and posing riddles than in actually bothering with answers (answers are so prosaic and dull). And even if it doesn’t make sense, it’s still the most awe-inspiring piece of cinematic alchemy I saw all year and the most fully cinematic period. Lynch, above all, is one hell of a craftsman, and he knows how to fully manipulate every aspect of the cinematic medium so that individual setpieces end up incredibly effective and memorable even if they aren’t particularly important to the narrative (think of the audition scene here, or the backwards-burning cabin in “Lost Highway”). Yet I still insist it’s not just a collection of scenes, that there is some mad logic behind it all – and that’s what makes it so endlessly fascinating and so hard to stop thinking about. A towering achievement, in my little opinion. - Steve Carlson

It's not often that I'd recommend a film to someone that I was certain would hate it, but Mulholland Drive just begs to be seen; its bizarre mixture of TV and film plotting, the mesmerizing lead performance by Naomi Watts, the white hot sexiness of its lesbian twosome, the brazen incomprehensibility of its final quarter, all make this an experience worth loving or hating. Mulholland Drive is nothing short of electrifying, replete with baffling, unforgettable sequences that may or may not go anywhere, even though some may enjoy the current more than others. And what a contradiction; it's deliriously frustrating, but so entertaining that it's easy to get angry that the elements don't come together as we expect they should, and yet so good that we can love it for having the balls to tease us. Nothing has convinced me that anyone really knows the answer to its questions, even writer/director David Lynch himself, but it had me asking: how does one piece together a shattered dream? - James Frazier





Next time on You Aught to Know: Philip Tatler

1 comment:

Aaron James McNally said...

I'm surprised I didn't mention this movie in my list. Perhaps because of its bizarre, dream-like aspect (a typical Lynchian feature), I remember little of the film after my sole viewing of it. I do remember that I enjoyed it greatly and felt, to a certain extent, that this film did a better job of portraying eros than did Blue Velvet.