Mulholland Drive

I <3 Mulholland Drive.

I also <3 the dvd extras. That French interviewer guy is hilariously bad.

http://images.amazon.com/images/P/B00020HB7S.01.LZZZZZZZ.jpg

swimming pool was good

there must be another mulholland drive thread -- there is, in fact. theories.

two hot movies one hit price

"Swimming Pool" was fucking dire.

i think that needs a bit of explaining alex

just too slow for you?

i thought the juxtaposition of the different phases of femininity was enthralling, along with the sheer magnetism of a French girl at her youthful prime. highly entertaining character studies.

I've never heard them called that before.

=P

It felt unfinished to me, what can I tell you.

i liked ludivine sagnier's boobs

yeah she was totally hot and mesmerizing.

yah

"Were it not for David Lynch," Cyrus asserts, "Miley would never have been Hannah Montana."

Read More http://www.gq.com/entertainment/celebrities/201103/billy-ray-cyrus-mr-hannah-montana-miley#ixzz1E3WhYLo8

was looking for something else & found my ticket stub from seeing this -http://oi42.tinypic.com/33bob6e.jpg

lol fuk

Woah, I just watched this for the very first time last night. What can this mean?

My wife and I watched this together right before it went off netflix. It was pretty much our first artsy movie together, I think. Usually we watch Kung fu movies or comedies when the kids aren't monopolizing the tv. She was so pissed off at me.

ha ha!

Came here with some half-thoughts about mulholland drive, now just want to talk about how bad swimming pool is.

But maybe there's something in that juxtaposition of two films which you might categorise as 'films with sex in them'.

The Lynch film doesn't pretend not to be soft porn in its soft porn parts, whereas swimming pool spent most of its time trying to convince you that it was worthy and artistic or something.

Mulholland is also as scary and unsettling as anything Lynch has ever done, whereas swimming pool is just creepy in ways it doesn't intend. The teenage girl's character was very obviously written by a man for a male audience.

Mulholland also continued Lynch's thing of looking at the - well, I'm not going to say 'seedy underbelly of Puritan America', but you know what I mean, using the idea of the proper and the improper, a sympathy with both the nice sunny world and the dark forbidden world. Whereas swimming pool was pushing a strained 'Look, here in France we are sexy and do not care!' sensibility which by now is pretty much its own white picket fence.

And look how MD uses the conventions of Hollywood, noir, and Americana and makes them into something that frightens you, whereas SP claims to be Artistic European Cinema and ends up boring you.

Dunno. This is all tentative and I'm aware that people here know Lynch better than I do.

Blu-ray on Criterion in October

http://www.criterion.com/films/28050-mulholland-dr

*faints*

Would be happier if not for the region-locking.

It would be cool if they included the 'pilot' cut in the extras

this is so cool

https://www.youtube.com/watch?v=Eh6JtllRkPQ

interesting to go back and see so little enthusiasm for this when it came out. this is widely now considered one of the best films since 2000, and Lynch's second best film after Blue Velvet. no?

http://images.amazon.com/images/P/B00020HB7S.01.LZZZZZZZ.jpg

taking sides

yeah it is weird, also strange that there's comparatively little press or promo for this. No talkshows iirc, total opposite of Lost Highway media blitz. Don't know why.

Lynch was on Leno when Mulholland Drive came out in 2001

I seem to remember MD was pretty big at the time. It got a swag of awards and nominations. My memory is that it came at a time when Lynch's reputation had tapered off somewhat, and this put him right back on the pedestal.

The media consensus was that Lynch had lost his way. I think the expectation after Lost Highway was that he would go on making critically divisive, minor cult films. People had also largely heard that MD was a rejected TV pilot with some new footage tacked on. This was one of those unexpected comebacks that has a hell of an impact.

this is widely now considered one of the best films since 2000, and Lynch's second best film after Blue Velvet. no?

Try best.

And it won the NYFCC's best film award, along with iirc the Village Voice critics poll.

eric OTM

yes

"So little enthusiasm" -- wha??

Naomi Watts even got faint Oscar buzz

so little enthusiasm in this thread, i think they meant

yes, I meant this thread

Mulholland Drive came out when ILX was down and all the discus was on the Sandbox iirc

yah we were goin nutz for it i saw it like 5 times in the theater

there's a couple of copies of ilx.thehold.net and sandbox.thehold.net on archive.org but I can't find that discussion I think

i saw this in the theater when it came out, it was amazing, and i was on ILX at the time, but didnt really bother posting here. don't take the lack of posts for a lack of enthusiasm me and my friends drove around the parking lot afterwards screaming with joy.

i saw it when it came out and immediately stabbed my eyes out so i would never see another movie ever again

....naido?

NA eyed 0

Holy shit lynch is a genius

lol

it was right there, staring us all in the face for all these years

I think Hour of the Wolf was maybe the 4th Bergman film I watched and I still like it, totally worth seeing as long as you like the idea of Bergman doing gothic horror.

Yeah, I remember enjoying it, but that it was kind of atypical, Bergman-lite maybe, like almost a self-parody or close to what detractors thought he was doing.

Max von Sydow didn't turn into a werewolf, so it sucked

Count Floyd: "Oh well, it wasn't scary but they got depressed at the end, didn't they, kids? You think it's not scary to be depressed? Did you see them? They, they couldn't... function in this world... with the faces... all those faces..."

Watched this again last night and the crescendo of the old couple slipping under the door and terrorizing Diane until she finds the gun to end her screams ... it's just unbelievable what this guy does with overlapping images and sounds and effects. Nothing else like it in film excepting maybe the end of The Return.

Yep. Besides all his weirdness and originality, he's also just a virtuoso of image and sound.

Lol at Count Floyd coming over from the Midnight Cowboy thread. #onethread

What's amazing is how the old couple are smiling in exactly the same way at the beginning and end of the film. They might even be more terrifying in that hired car after meeting Betty/Diane.

Yeah, that whole thing is WTF.

Like where are they going and why are they behaving that way?

Having not watched this in the intervening decades since it came out all I could remember was the prurient interest and the general vibe, so was pleasantly surprised how much good stuff there was from beginning to end to appreciate. I don’t have much to add on that front. Trying to think of their is any use in comparing with a film on a somewhat similar theme, The Limey, but the two movies are so different, maybe don’t want to go there.

Also trying to remember the substance of a National Lampoon Bergman parody I read once, The Høwl of the Muppets.

xxp the smiles and laughter of the old couple are echoed by Adam Kesher and Camilla Rhodes later in the film
https://www.mulholland-drive.net/pics/cast/oldcouple1.jpg
https://www.mulholland-drive.net/pics/cast/adam_camilla.jpg
(images from mulholland-drive.net where of course someone noticed it way before I did https://www.mulholland-drive.net/theories/18.htm )

That’s an interesting pairing of images, but it’s hard to take a site seriously that conflates the two different “realities”:

First, we've seen how the hitman operates. It is hardly a stretch to imagine him taking out Adam in the process of killing Camilla. In fact, I think it's a bit of a stretch to imagine him killing ONLY Camilla. This guy murdered a vacuum sweeper for crying out loud.

(FWIW, I only vaguely know what to make of the old couple, but it does seem awfully reductive to declare they “represent Adam and Camilla”)

I don't think the hitman is in the dream reality, he doesn't interact with any of those characters. Some "reality" elements are intercut with Diane's Betty dream (e.g. Dan in the diner). Oddly Adam is the only character who seems to have continuity/identity through both worlds, although several faces repeat.
And no, I don't think that the old couple "represent Adam and Camilla" any more than the diner waitress Betty/Diane "represents" Diane/Betty. The whole film is about twinning, representation, offset realities, dream logic.

Oh, that’s interesting, I definitely don’t agree with that first part of what you wrote… but cool to hear the idea! I guess there’s a lot of ways to read even just the basic “presentation” of the movie.

tbh I'm not even sure I agree with myself!

I mentioned this movie to a friend, and he wrote: “Napkin… NAPKIN!!!!!”

So I guess there are more memorable quotes than I initially thought.

So glad I watched this again.

I’m watching Barry Lyndon—there’s a nice analogue of the dinner party scene near the beginning of the movie (it doesn’t play out the same way, of course…).

I finally watched this, and am not sad I missed it when it was first in theaters. So, True Hollywood Stories, as filtered through the David Lynch sensibility?

https://i.imgur.com/3O87Ayp.png

I also just watched this, having not seen it since its release. I was kind of anticipating it to be not as good as I remembered because I was blown away at the time. Not so, just an amazing movie, the crescendo at the end is incredible. I've moved on to binge watching Twin Peaks, which I never saw at the time. I'm enjoying it, but a little frustrated at how slow and repetitious it is, compared to the crisp distillation of sound/image/idea of Mulholland Dr. But maybe that's just due to how I'm watching it, it wasn't designed to be binge watched.

One minor thing I noticed is that it's 2001 and everyone was on the internet by then but it doesn't seem to exist in the film. To try and find out more about the crash Betty buys a newspaper and when there's nothing in it she says it must have been too late for this edition and leaves it at that. Also a lot of landline phone use and not much (if any?) cellphone use. We're living in a 2001 that's more like 1981...

I watched it again about a couple of months ago. I always forget how many tangents and extra stuff there is. Billy Ray Cyrus, the inept hit man, etc.

everyone wasn't on the Internet in 2001. only about half of Americans were. only about 3 in 10 people had cell phones in 2001 in the US, and none of them were smartphones. I'd say 2005 is the earliest year you could say "everyone was on the Internet"... things changed A LOT with respect to the Internet between 2000 and 2010

Rewatched this last week after not seeing it in 20 years and yeah, really holds up. It was good view it with a better understanding of the dream theory with Naomi Watts waking up at the two hour mark.

on deeper level its really all about hollywood razzle dazzle

it's about the awesomeness of Roy Orbison songs

i watched "a masterclass" with david lynch and at one point hes talking about how to go about making movies his advice was to write down ideas on index cards and once you have 70 ideas then you can make them into a movie

on deeper level its really all about hollywood razzle dazzle

Xpost Only half of Americans may have been online in 2001, but I'm guessing it would have been close to 100% in the LA movie world! But yeah, I get your point...

it is tbf a pretty common topic for a movie, he talked in the masterclass about how much he loves sunset boulevard xp

recommended

https://www.youtube.com/watch?v=rNg-cx5OiEQ

I was on the internet in 2001, but if I was looking for info on a car crash the night before I 100% would have reached for the morning paper before thinking to check the internet for something like that.

my experience watching recently for the first time since release was that it was perhaps lightly less good than my memory of it - but this is also possibly because i recently watched Inland Empire which is kinda the full-strength dose of Late Lynch

i still think MD is a great achievement, especially considering its origins

i watched "a masterclass" with david lynch and at one point hes talking about how to go about making movies his advice was to write down ideas on index cards and once you have 70 ideas then you can make them into a movie

― lag∞n, Sunday, January 26, 2025 6:28 PM (two hours ago) bookmarkflaglink

shit I’m only at 3

I saw it in a theater today as well, for the first time since 2001. Loved it, and am not a fan of Blue Velvet or Wild at Heart. I've thought for years that the audition scene was kind of the ur-text for all of Lana Del Rey, but that thought carried through to other scenes as well.

Re the lack of internet, the bulk of MD was shot in 1999, and written before that - there wasn't much news reported on the web at that time, and few had email.

https://www.vulture.com/article/patrick-fischler-answers-all-our-mulholland-drive-questions.html

In 2001 I read Salon several times a day, and they published one of those MD guides that helped.

this? https://www.salon.com/2001/10/24/mulholland_drive_analysis/

perhaps you also read the letters from readers offering their own reactions and theories, featuring me and erstwhile ilxor kenan.

!

lol

amazing

What was that first take like for you? It’s a jump scare for the audience.
It was kind of a jump scare for me. It was like, Oh, shit. In person, she looked remarkable. It was scary and odd and creepy. In that whole scene, even the walk, the dread just came to me. I can feel it in my chest right now talking to you. I’m not that kind of actor.

I remember getting the DVD that had the "10 hints from David Lynch" or w/e in the booklet, which iirc were remarkably specific and unlocked things pretty tidily. At the time I remember being shocked that Lynch would stoop to explaining things like that.

That salon piece was huge for me

cinematic scud missile of 1997