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Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Package Dimensions ‏ : ‎ 7.1 x 5.42 x 0.58 inches; 2.93 ounces
Media Format ‏ : ‎ Blu-ray
ASIN ‏ : ‎ B003PHJLR8
Number of discs ‏ : ‎ 1

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W. Roe

Eastern Philosophy, Unified Field and Mulholland Drive

Reviewed in the United States on January 31, 2011

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I had to purchase a second copy since my first one began to skip. This work of art got under my skin like no other. Someone recently posted a review here which reminded me that I had wanted to update my thoughts on this film which seems like a never ending journey. I am writing more an alternate way to view the film rather than a review. It is likely I will be unable to express this in a way others will be able to relate to but here goes...

My appreciation and perspective continue to evolve as I explore further the wondrous world of Mulholland Drive. Conceptually for me, Lynch has created a beautiful and surreal picture of the mysterious workings within the psyche and all of the films characters ultimately can be seen as interacting mental forces within the subconscious mind. I further interpret it as a masterfully creative representation of Eastern based philosophical concepts like "oneness", and "desire being the basis of suffering" and "the path to nirvana is within each person". I almost imagine a tiny grain of truth wrapped in infinite layers of illusion, representing a conceptual model pertaining to Eastern philosophy. The title "Mulholland Drive" can bring forth many possible interpretations, one of which is "Material Ambition" where the self centered dream/desire (Hollywood) of material success (Mulholland and Hollywood) becomes the drive/ambition which leads to suffering.

Many may know of David Lynch's lifelong practice of Transcendental Meditation or TM. It led to his establishing the David Lynch Foundation, which seeks to promote TM with the goal of spreading world peace. Please check this on the web if you are unaware of how committed he is to TM and consider how it could inform and inspire his work. Perhaps some may also be aware of his thoughts regarding the comparison of TM to something in physics called the "unified field theory". My admittedly limited understanding of this "unified field theory" as it applies to TM, suggest that there exist an essence of ultimate awareness or enlightenment laying at the center of many layers of consciousness (this may not be exactly correct). Devotees suggest TM can allow an individual to begin to reach for this ultimate level within (and more).

Anyway, I have begun to experience the film as an infinitely layered symbolic representation of concepts related to Eastern philosophical thought like "desire is the basis of all suffering". The model might be extended to represent the unified field theory too but I am not exactly sure exactly what it is. From this POV, there exist any number of layers of multiple "outside solutions" wrapped around layers of "inner interpretations" further wrapping a center "point" of "inner enlightenment" or "ultimate reality". The "outer" layers are illusionary stories, where viewers extrapolate their own personal solutions outside of the films actual content. These are mostly regarding what I consider a physical reality based story of a woman's Hollywood experience and involve deducing scenarios not contained within the film, to arrive at what the viewer considers a logical "real world" solution. Though I believe these are never complete, many apparently are satisfied at that point though will have had to create something not explicitly shown in the film or have some questions remaining. These deduced explanations might be comparable to "illusions" of the physical world where what we expect will provide ultimate happiness are false paths, never leading to complete contentment. These outside layers wrap around more non-physical dreams and mindscapes which begin to increasingly rely more on the films literal content with more elements remaining "inside" the film. This can be reinforced once discerning a film "language", made up of every element and includes lighting, names, locations, colors, wardrobe, dialogue, sequencing, editing, props, titles, sounds, music, credits etc. as well as DL's own history. This "language" is elegant and wonderful once the willing viewer is able to let go of conventional viewing and grasp the simplicity of it. Perhaps that too is a philosophical connection which might suggest enlightenment is simply "seeing what is". If one simply sees what is in the film, a new enlightenment, interpretation or understanding is possible.

Delving deeper into the mindscapes and metaphor, the film can suddenly open up to where everything begins coming together to reveal a wondrous symbolic allegory illustrating the unseen internal danger possible when choosing a self centered material existence over a more loving and compassionate one. All characters could be imagined as representing various identities inside of "one" being, interacting within a mental world inside "the mind". Think beyond guilt, desire, id, ego and super ego. Think beyond male and female or young and old. Think beyond dream and reality, into the most fundamental element of our humanity and existence (or perhaps the unified field). For me, Lynch has painted a beautiful and surreal picture of the mysterious workings within our heads where all of the characters represent interconnected mental forces within the subconscious mind. These are the very real forces that somehow create the electric impulses that lead to the decisions we make and affect how our lives will be. We expect the physical and material world of "the good life" to provide happiness at the risk of our inner well being and the "good life". Deciphering the "language of the film" can allow the viewer to gain a more "unified" understanding...similar to what some suggest occurs when learning the language of Transcendental Meditation or seek Nirvana. I get a feeling of the film representing an adult lifetime of desire and a guilt born of remorse that results in an empty, lonely and frightened inner reality being forever replayed, never to attain a permanent state of contentment. It can be imagined that the physical layers surrounding this depiction of the repetitive mental allegory may be analogous to the way Lynch may view the unified field theory at the center of all being.

Okay, I know it may sound crazy. I know next to nothing of Eastern Philosophy and I believe there exists many parallels in the film which I will never be aware. But for me, this view has resulted in the film blossoming in seemingly endless ways which build on each other with detail upon detail becoming somehow wondrously connected to the whole. This takes Mulholland Drive into a realm beyond cinema to become (for me at least) a unique and thought provoking experience. Perhaps even "mind expanding". I DO NOT claim to have a complete understanding, but every viewing brings some further observation or "enlightenment", enriching the experience for me. It also has made me curious about TM and other meditative paths. I am aware that many consider TM a cult or religion of sorts and warn of the dangers if one is susceptible to certain sales techniques. It is my nature to be skeptical and resist being led, but I also like to "keep an open mind".

Oldgoldtop

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Thomas M. Sipos

Sheer Genius

Reviewed in the United States on May 31, 2006

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David Lynch is the most brilliantly innovative and interesting filmmaker working today, and Mulholland Drive is yet another masterpiece. Beautiful, ugly, poignant, haunting, hilarious, dark, nightmarish, mesmerizing, thought-provoking, puzzling, confounding.

Is it a horror film? Like all things in the Lynchian universe, the answer is an emphatic: yes and no.

What's the story about? The more proper question is: Is there a story? Again, there is and there isn't.

Mulholland Drive is not so much a story as a series of events, veering off into divergent tangents, surrealistically (but only partially) interconnected, sometimes returning on a Mobius strip in new form, sometimes dropped and forgotten, or lingering on a subconscious level.

Welcome to Lynch's dark and beautiful nightmare. You either love it or hate it.

Like Lynch's Blue Velvet, Mulholland Drive opens in a hyper-idealized America. A perky all-American girl (from Canada) with stars in her eyes wins a jitterbug contest -- 1950s kitsch in a contemporary America permeated with anachronistic sensibilities. She arrives in Los Angeles, seen resplendently through her naive eyes.

That's Betty (from Archie comics?) played by Naomi Watts. In Mulholland Drive, Betty's brunette foil is Rita (Laura Harring).

Rita hails from L.A. noir. A dark femme fatale riding in the back seat of a car, moving languorously, hypnotically, down Mulholland Drive. Rita's mysterious identity is compounded by her attempted murder. Then a strikingly brutal (and seemingly arbitrary) incident drastically alters the course of events.

As in a nightmare.

Lynch is one of the few filmmakers who can pull off such seeming arbitrariness. His films' narrative subtext, cinematography, art direction, and music create a surreal interconnectedness that fuse events together despite drastic and seemingly arbitrary plot detours.

I don't want to reveal too much. Mulholland Drive should not be spoiled for those who've yet to see it.

After driving down Mulholland Drive, Rita has amnesia. She wanders into Betty's house. Betty -- who came to Hollywood to be star -- takes Rita under her wing. Like Nancy Drew, Betty is an innocent drawn to adventure. Innocent, because no modern day Nancy Drew would last long in the dark and violent world Betty is set to enter (and Rita, re-enter).

This is a common Lynchian theme: The innocent who is drawn to dark strangers living corrupt lives under the Disneyfied surface of Americana. (It is tempting to see Lynch, raised in Montana, as that innocent.)

In Mulholland Drive, Lynch (through Betty) pokes underneath Hollywood's glitter. Naturally, we find lies, corruption, power plays, egos, exploitation. The pain and heartbreak beneath Hollywood glitter is an old target, extending back to the similarly titled Sunset Boulevard. Yet remarkably, Lynch breathes starling new vigor into this well-trod tale.

The Hollywood power plays involve a dwarf in a red room. And a cowboy, and much else that remains unexplained. That is what Hollywood feels like for many. Actors wondering why they were not chosen. Directors wondering why they were bumped off a project, or why a project was canceled.

Oh yes, Rita has a blue key. And there is a blue box, reminiscent of Hellraiser's puzzle box. Mulholland Drive's first hour can best be described as a noir mystery with Lynchian overtones. That's confusing enough. But midway through, Rita finds the blue box, and things take a turn into the metaphysical.

Remember when in Twin Peaks, Josie's form emerges from the wall at the Great Northern? And it's ever explained. No, that's not what happens with Rita's blue box, but it's in the same territory. Lynch claims to be fascinated by furniture. And by music, and much else. His films are less linear stories than surreal journeys through his dark fascinations. The latter half of the film journeys deeper into those fascinations.

Mulholland Drive was originally a pilot for an ABC TV series that was never picked up. It was finished (as a feature film) with French money. That's one explanation for the sudden turn of events midway through the film. But once again, Lynch makes it work.

There is so much more in this film, but I won't spoil it by recounting the events.

Do see this film alone, or at worst, with a mature audience. I saw it at an IFP/ West screening at the L.A. Film School. No doubt, the crowd imagined itself hip, trendy, sophisticated. Yet many laughed at the most inappropriate times. They laughed at Betty's idealized entry into L.A., upsetting the scene's fine balance. (As in many horror films, Lynch's films establish a delicate tension between unease and humor -- a tension whose beauty and poignancy and unease can easily be weakened and destroyed by inappropriate laughs.)

Yes, Betty is naive, but we are meant to empathize with her vision -- not laugh at her. Remarkably, the IFP crowd also guffawed at a lesbian scene. I thought I was surrounded by a crowd of Beavis and Buttheads.

Mulholland Drive was nominated for, but did not make, the Preliminary Ballot of the Horror Writers Association's Bram Stoker Awards. That is no shame on Lynch. It does disgrace and cheapen the Stokers.
______________________

PS: While we may all review the final film, and what it means, we should be careful about assuming any "intent" on Lynch's part. This is because Mulholland Drive was never intended as a film. It was initially shot as the pilot to a TV series that wasn't picked up. So Lynch took the pilot and, with some additional French investment money (from Canal Plus), expanded the pilot into a film.

That's why it "gets weird" later on. The initial part of the film (the pilot) set up some storylines with specific resolutions in mind. Then when the series wasn't picked up, an additional hour or so was filmed and edited into the pilot, creating wholly different resolutions (and different storylines) to what had initally been intended.

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Vaughn

It's just good

Reviewed in the United States on December 7, 2023

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Forget the head cannon, and try to see this movie at face value. It is really good, and to the point if you don't think too hard on it,

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alberto rovira

Juegos Lynch

Reviewed in Mexico on February 11, 2024

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Siguiendo la linea de cruces de tiempo en la historia como en Lost highway, el maestro nos envuelve desde el principio. No apta para mentes simples como en general el 90% de su obra. Busca también el soundtrack, si no vibras con Rebekah del Rio lo mas probable es que tengas algun tipo de insuficiencia.

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Miguel

Bien

Reviewed in Spain on February 11, 2024

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Peliculón de Lynch, buena edición

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freddiefreejazz

l'attitude d'un homme détermine la tournure que prendra son existence...

Reviewed in France on September 5, 2020

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C'est sans conteste le film le plus barré de ces vingt dernières années. Le plus barré mais aussi le plus dense, le plus complexe, le plus fascinant, le plus poétique et le plus abouti des films sur l'industrie du cinéma en général et sur Hollywood en particulier. L'histoire d'un rêve (une femme rêve de devenir actrice; elle débarque à Los Angeles plein d'espoir...). C'est aussi l'histoire d'une désillusion. Le film est foncièrement onirique. C'est enfin un film inspiré par la fin d’un monde... Un peu dans la continuité de Boulevard du Crépuscule (1950) et Fedora (1978), deux films majeurs de Billy Wilder (1), ou encore Les Ensorcelés (1951) et Quinze jours ailleurs (1966) tout deux réalisés par Vincente Minelli (on pourrait même citer quelques films de Fellini, d'Ettore Scola, de Robert Altman et de Pedro Almodovar), Mulholland Drive est une expérience visuelle forte (pour ne pas dire inoubliable). Boudé par les uns, adulé par les autres, le film de David Lynch est une sorte d’ovni. Unique en son genre. Pour moi, LE premier grand film du XXIème siècle (ou le dernier du XXème…). Cela faisait un bail que je ne l'avais pas revu. Le plaisir reste intact. Le Blu-ray de 2017 édité par studiocanal est une nette avancée par rapport au DVD de 2002 ( Mulholland Drive ). C'est en regardant, tout récemment, Maps to the Stars , un film de David Cronenberg (2014), que j'ai aussitôt pensé au film de Lynch. Le film de Cronenberg fait écho au film du réalisateur de Twin Peaks et Eraserhead . S'il est quasiment de la même veine que Mulholland Drive (les illusions, les masques, les perturbations morales et psychiques des individus, les dérives tyranniques du monde du cinéma et surtout la fin d'un cycle, comme l'expose admirablement Pacôme Thiellement sur Youtube lors d'une conférence autour du film), Maps to the Stars m’apparaît hélas très en dessous (2).

Quand studiocanal publie ce Blu-ray en 2017, l'occasion de revoir le film dans de meilleures conditions devient alors Réalité. Je ne connais pas l'édition Criterion, Mulholland Drive , qui paraît-il est la meilleure, mais bon, elle est réservée au public américain, à moins de posséder soi-même un lecteur multizone. Pour qui ça intéresse, une édition digibook existait déjà : Mulholland Drive , édition studiocanal de 2010). Bref, cela faisait un baille que j’attendais ce Blu-ray à un prix raisonnable (15 euro). Pour l'aspect extérieur : certains s’offusquent parce que le boîtier est rudimentaire. So what ? On trouvera tout de même pas mal de boni, même si le film se suffit à lui-même (si je puis dire). Lynch a de toute façon refusé (jusqu'à l'édition française de 2004) de donner des clés à son public. Chacun-e son interprétation, là est l'essentiel. Ce film s'adresse surtout à un public adulte et mature. Et on n’en aura jamais terminé avec nos interprétations. Mulholland Drive (le nom d'une route sur les hauteurs de Hollywood) reste de toute façon une « borne » dans le cinéma mondial. C’est surtout le film de toute une génération de cinéphiles. Les maints visionnages au fil des années le confirment. Cette œuvre est à part. Est-ce un drame ? Un thriller ? Un Film Noir ? Un film onirique ? Un délire de psychopathe ? Un rêve inassouvi ? Une histoire de gloire et de frustrations ? Oui et non... ou, oui mais pas tout à fait... Le début du récit est en tout cas très lisible : une jeune femme doit passer une audition pour un rôle dans un film (Betty incarnée par Naomi Watts ). Elle croise la route d'une femme qui a perdu et la mémoire et son identité ( Laura Harring ).

C'est surtout un film kaléidoscopique déroutant, sorte de puzzle, n'apportant pas de réponse franche et nette. Voilà pourquoi une grande partie du public s’est sentie paumée en sortant des salles de cinéma (moi y compris). Mais le cinéma, c’est cela aussi : un voyage visuel. Lors de sa première projection en juillet 2001, ce fut pour moi une claque. A bientôt trente piges, j’allais être au chômage (fin d'un contrat, au revoir et merci !) et j’avais le sentiment d’avoir raté ma vie. Et justement, l’une des questions clés du film, c’est : Qu’est-ce que réussir sa vie ? En l'espace de quelques semaines, accompagné ou pas, j'ai dû le voir quatre ou cinq fois (le film était encore projeté dans les salles obscures de l'Utopia et le restera pendant toute une année !). Jamais un auteur n'avait eu le pouvoir, par la puissance des images, de nous interroger et de nous mettre à ce point mal à l'aise. Pas de zone de confort par ici. Mais du coup, interroger quoi alors ? Nos fantasmes et nos rêves ? Pour moi, c'est ainsi que je l'ai vu et le revois, même si maintenant, c'est plus de l'ordre du jeu, des détails, etc. Fantasmes et désillusions. Perte de sens. La fin d'un cinéma également. Pour mieux en sortir ? Ce film vertigineux tourne autour des cinq sens : la vue, l'odorat, le goût, l'ouïe et le toucher... D'une richesse inouïe sans se faire poseur, ni donneur de leçon (malgré les références à Chinatown , et à Rita Hayworth , l'inoubliable partenaire d’Orson Welles dans La Dame de Shangaï ), Mulholland Drive reste un phénomène cinématographique sans équivalent (alors que ça n'était destiné, au départ, qu'à être un pilote pour une série télé !). Les acteurs et actrices ( Laura Harring et Naomi Watts en tête) c r è v e n t littéralement l'écran ! La Musique est par ailleurs superbement appropriée. Bref, vous l'aurez compris : pour moi (mais pas que), Mulholland Drive est une Perle du 7ème Art.

__________________________________________________

(1) Qui a oublié Betty, le personnage interprétée par Nancy Olson dans Boulevard du Crépuscule , le film de Billy Wilder ? Et puis comment ne pas songer à Rita Hayworth dans La Dame de Shangaï , à sa coupe de cheveux très courte et colorée en blonde, imposée par Orson Welles lui-même ?

(2) La conférence de Pacôme Thiellement s'intitule : Les deux clés de Mulholland Drive (conférence donnée le 13 mai 2020 à l'auditorium de Montpellier; durée : 1h12). Pour moi, c'est l'explication la plus passionnante que j'ai jamais entendue sur le film de David Lynch.

(3) Possibilités de visionnage : VF, VO (avec ou sans sous-titre français, amovibles comme on dit, et là, je dois dire que pour les sous-titres, nous avons également la possibilité d'activer la transcription en anglais : au départ pour les malentendants ou hard of hearing). Les boni sont nombreux (documentaires, de nombreux entretiens, une bonne dizaine, soit plus de trois heures de docs !). Qualité visuelle et sonore : plus que correcte : excellente !

(4) Une édition studiocanal Blu-ray 4K ultra HD devrait voir le jour prochainement pour le 20ème anniversaire du film ( Mulholland Drive est annoncé pour octobre-novembre 2021). Avis aux amateurs et autres amoureux du 7ème Art. Très bonne séance à toutes et à tous, si possible (un conseil : ne cherchez pas à tout comprendre; lâchez prise, laissez vous porter ou transporter... C'est une affaire d'émotions avant toute chose... et maintenant, chut, silencio...).

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金城茂之

ありがとうございます

Reviewed in Japan on July 3, 2023

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Dave

Superb Movie Let Down By Its Onscreen Appearance.

Reviewed in Australia on November 7, 2020

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The movie "Mulholland Drive" (brand new restoration approved by David Lynch) arrived on time and in good condition. As usual, thankyou Amazon (Au) and Australia Post for swift despatch and delivery.

The movie (Mulholland Drive) explores the manipulative (Machiavellian > political) - behind the scenes - manoeuvres of the Hollywood entertainment power brokers (puppeteers). We observe how the master puppeteers pull on the strings attached to the movie producers and directors (marionettes) making them dance to the tune of the puppeteers own liking (influencing their creativity). Furthermore, we see how personal relationships between the players (actors) are exploited in fulfilling individual agendas (with fatal cruelty).

Although the the story isn't particularly original, (the contained themes have been around for some time) the script is well crafted (it's the degree to which these elemental (sub) themes are introduced and combined that makes this movie sensational). Intrigue and suspense are built-up in layers, (as the tale progresses) often in revelations contained in flashbacks. The flashbacks aren't intrusive and don't hinder the flow and the brisk pace of this film. My attention and curiosity were constantly maintained throughout this riveting movie.

Cinematograph is impressive: particularly framing, camera angles and lighting. The acting talent gave pleasing performances in their character portrayals. All are convincing in their rolls.

This particular restoration is not my "cup of tea". My first impression (upon initial viewing) was that the film looked drab and tired. Whilst the image has satisfactory definition, it lacks vibrancy, energy and "life". Perhaps, due to the layer of film grain, present (digital noise is insignificant). Still, others maybe quiet happy with this restoration (personal choice). Myself, I am prepared to accept the restoration (appearance) because of the quality of the content (script plus acting).

"Mulholland Drive" is a brilliant movie, only let down (somewhat) by it's appearance. A rating of 5 plus stars for the production content 3 stars for the restoration (visual aspect).