Lynch entertains with original, unusual story

  Universal Studios Naomi Watts (left) and
Laura Elena Harring star in David Lynch’s new film
"Mulholland Drive."

By Dave Holmberg
Daily Bruin Staff

The film makes no sense. Nor should it, because
“Mulholland Drive” is a David Lynch movie, meaning
anything goes, and goes and goes to the point of completely
wonderful incomprehension.

Lynch, who is best known for such cult classics as “Blue
Velvet,” “Lost Highway” and the television series
“Twin Peaks,” is not known for his adherence to typical
cinematic conventions. His newest effort, which he also wrote the
screenplay for, is no exception.

The film begins with a mysterious woman, played by Laura
Harring, who gets caught up in a bizarre car crash on Los
Angeles’ own Mulholland Drive. Uninjured except for an
unfortunate loss of memory, the woman wanders into an apartment
where she meets the standard
innocent-country-girl-who-has-come-to-L.A.-to-become-an-actor named
Betty, played more than convincingly by Naomi Watts. After taking
on the name Rita, the unknown woman and Betty set out to try and
discover the strange circumstances behind the crash.

Meanwhile, a hot shot convertible-driving, black-wearing film
director Adam (Justin Theroux), finds his new movie being stripped
from his control. Higher powers, including the Cowboy, portrayed by
a mystical Monty Montgomery, demand that he cast a certain actress,
although to what end and for what purpose is unclear at first.

Well, it remains unclear throughout the film, as do most aspects
of the decidedly non-linear plot. Although from the preceding
description, Lynch’s narrative seems straightforward enough,
rest assured he makes a sharp and decisive turn into the
abstract.

Before the film is through, characters have switched and
reversed roles, a magical box is altering reality, Betty and Rita
have become lesbian lovers, and a one inch tall elderly couple is
scurrying about the floor. Even for a David Lynch movie, it is
pretty far into the realm of fictional turmoil.

Visually, the film is incisive, slashing deep into the
subconscious with its atmospheric lighting and realistic style.
Slow, almost painfully so, camera movements generate suspense,
which at times is nearly unbearable, and this is heightened still
by a frequent lack of music. And, as with many of his films, a
1950s influence is felt throughout the movie, and in this case it
is exemplified by Adam’s film involving a story set in that
time.

Ultimately, a film such as “Mulholland Drive” is not
meant to be taken on literal terms. Much like an unfathomable
dream, the movie must be viewed through this lens where standard
story telling techniques take a back seat, or are perhaps thrown
from the car altogether. Instead, what is relevant are the emotions
invoked and the feelings produced while watching and therefore, can
only really be understood on a very intuitive level.

Part of the difficulty in watching Lynch’s films is that
he places unconventional characters in relatively conventional
settings.

This is an extremely unusual approach, and creates a huge rift
between the audience and the character, because it does not allow
for any identification with them.

This is in contrast to say, a Ridley Scott film, like
“Blade Runner” or “Gladiator,” where normal
people are put into extreme or unusual circumstances, but the
audience can still understand the humanistic qualities of that
character.

For example, the relationship that develops between Rita and
Betty is fascinating in its subtle approach, but could hardly be
anticipated given its uncharacteristic conclusion. But Lynch does
handle their lesbian interactions with a heated romantic intensity,
which is reason enough to see the film.

For those who are not Lynch fans, and there are many,
“Mulholland Drive” is not going to suddenly cause a
revelation or conversion.

The film does not work within the confines of linear story
telling, nor does it have a satisfying and understandable
conclusion, which for many is a problem.

However, the movie does address numerous themes, such as
identity and contentment with one’s place in life that have
never been addressed as they are here. While “Mulholland
Drive” is a disorderly and chaotic jumble of ideas and
non-linear thoughts, it is an enjoyable mess and an entertaining
confusion.