Bondar: No hay banda!
17. Mulholland Drive (2001) – Dir. David Lynch
There is no band, and in this brilliantly confusing mystery there isn’t much comprehension either. Every time I think I have this film figured out I notice something else that throws my theory all out of whack. Entire websites are dedicated to discussing and solving the film’s many mysteries.
But is it any good? You bet.
The only reason I put up with the “What the fuck is going on?” feeling I get while watching this movie is because each scene taken individually is still very intriguing and holds up well, even if you are completely lost. And, unlike some of Lynch’s other movies, I have a vague idea of what the truth really is. At least, I think I know what is happening in this movie, more so than Lost Highway (after multiple viewings), which is a good thing.
This is also the film that introduced the world to the fantastic Naomi Watts, as well as her penchant for great performances and great nude scenes. (Someone had to say it.) [Editor’s note: Actually, I don’t think it needed to be said.]
Once you get past the mystery and the puzzles and the great lesbian scene, there is still a great story of love lost and found at the heart of this film that really resonates, a story tied to the film’s Hollywood allegory (bright hopes and broken dreams).
There’s a lot going on in this film and Mr. Lynch makes the whole thing feel like a hypnotic dream I once had, instead of movie I saw nine years ago.