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This sexy thriller has been acclaimed as one of the year's best films. Two beautiful women are caught up in a lethally twisted mystery - and ensnared in an equally dangerous web of erotic passion. "There's nothing like this baby anywhere! This sinful pleasure is a fresh triumph for Lynch, and one of the best films of the year. Visionary daring, swooning eroticism and colors that pop like a whore's lip gloss!" says Rolling Stone's Peter Travers. "See it… then see it again!" (Time Out New York)
- Aspect Ratio : 1.85:1
- Is Discontinued By Manufacturer : No
- MPAA rating : s_medR R (Restricted)
- Product Dimensions : 7.5 x 5.5 x 0.53 inches; 4 Ounces
- Director : David Lynch
- Media Format : Multiple Formats, Closed-captioned, Color, Dolby, NTSC, Subtitled, Widescreen
- Run time : 2 hours and 27 minutes
- Release date : April 9, 2002
- Actors : Naomi Watts, Laura Harring, Justin Theroux
- Subtitles: : French, Spanish
- Language : English (Dolby Digital 5.1), Unqualified, English (DTS 5.1)
- Studio : Universal Studios Home Entertainment
- ASIN : B00005JKJA
- Number of discs : 1
- Best Sellers Rank: #85,244 in Movies & TV (See Top 100 in Movies & TV)
- Customer Reviews:
Top reviews from the United States
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Most of this trouble stems from how the movie was made. The first two hours are the pilot for a TV show that didn't get picked up. Pretty much everything through the theater scene, other than the somewhat gratuitous sex. Being a pilot, its objective was to open up lots of unrelated threads that would then be explored in the eventual series. And if it was anything like Twin Peaks, then Lynch had no idea where any of these threads were going. Then he tried to somehow turn all of those unrelated and unresolved threads into a coherent movie. He did this by coming up with yet another story thread, which does get resolved.
The problem is that this new story has little to do with everything that precedes it, even though it does manage to sort-of tie it to most of the other threads, or at least casually reference them in some way. But he does so with a really cheesy device that's not even very original. (It had been prominently used about twenty years earlier, to almost universal scorn). And really, it doesn't work. The first part just doesn't make sense in the context of the second, even though there are a few details that might be considered ret-con foreshadowing. He would have been better off just giving us the pilot as-is, with no resolution. Or cutting all but the main Betty/Rita story line, which would then have opened up enough time to tell that story.
Having said all that, there's a lot of really good stuff in here. The whole Betty in Hollywood arc is fascinating with its ironic juxtaposition of Betty's over the top naive idealism and the industry corruption. The director at home and with the cowboy was wonderfully surreal. The who-is-Rita Hardy Boys adventures are very engaging. The incompetent hit man is really funny. The Hollywood backstage stuff seemed quite promising. The whole Club Silencio bit was mesmerizing. And there's not-so-good stuff. The dwarf in the isolation room who appears to be controlling Hollywood was just dumb, more of a parody of David Lynch than a serious part of the movie. Similarly the espresso guy.
But really, each time I watch the movie I think how this could have made a great TV series, and it's really too bad that ABC passed on it. And even the Diane/Camilla story could have been interesting if he'd actually made a movie about it. So a big lost opportunity. But still very much worth your time.
Just go on a journey through a beautiful dream with some nightmarish turns and you might find yourself wanting to return to this movie many times as I have.
Most of the movie is a dream, From the two scenes between hitting the pillow and lifting from it everything you've just witnessed is being dreamt by Diane. Betty and Rita never existed. Diane felt that Camilla stole her fame and broke her heart so she hired a hitman to kill her. The guilt leads to the dream sequence that takes up the majority of the film. Her jealousy explains why she sees herself in the dream as Rita, and when she meets the dream version of herself, Betty, she suddenly has more than Rita/Camilla and needs to help her. The disjointed scenes that seem misplaced are to fit with the dream atmosphere. Nothing ever seems quite right in a dream does it?
The girls really kept me watching so I kept watching. Of course waiting
for both girls to do it but than I realized that I was being so promiscuous
with my thoughts so I started to try to understand why Bella was in love.
I was trying to understand why she became crazy. Than I wanted to understand
what was going on. I was lost but at the same time, my attention was held
hostage. I think I might watch it again tonight to understand the full concept of
this film. I recommended for those who like this type of /complex/insidious/surreal/creative
Top reviews from other countries
The other thing I find rather annoying (which might have been in the DVD too, don't remember) is there's no proper scene selection - it's totally random, and the chapter cue buttons are disabled, too. WTF.
The transfer looks AWESOME though, great color and resolution - going back to the scene when Laura Harring takes off the towel, after that there are nice shots of her face close-up and the detail of her lovely features is amazing. Also, this disc features four language selections (I think it's French, Italian, Nederlands, and UK) right up front and tailors the UI from that point based on your selection. It will ask again each time (at least it did on my player) so I actually checked it out with UK and again in French.
A film set in an ostentatious city of extremes, the action shifts from mystery, through horror and farce, to tragedy with unshowy elegance. Lynch's techniques might be bamboozling, but this can be seen as a simple, sad tale of a starstruck loner, Diane (Naomi Watts), spurned by love, and now in love with an impossible dream. What emerges from Lynch's seductive, oneiric aesthetic is a powerful, angry attack on the poisonous hierarchy of celebrity. This is about the obliteration of the individual; the destruction of one woman's sense of self.
Diane, as her imagined alter-ego Betty, conjures a dreamworld in which she arrives, starry-eyed, in the City of Angels, and finds a fallen angel: "Rita" (Laura Harring), a beauty in the classic Hayworth mould, who has lost her memory after a car accident. In her fantasy, Diane/Betty not only lives a life of intrigue and wealth, but also retains her integrity - both in terms of her acting ability and in the grace she shows toward her secret roommate. In her fantasy, Betty is as strong as the jealousy that sucks the life from Diane. Those she hates - specifically, Rita's director and lover, Adam (Justin Theroux) - are condemned to squalor and emasculation. Betty satisfies Rita sexually. Betty makes Rita whole, and Betty is loved for it.
There's dread in droves. A blind woman comes to the door, but she cannot wake Betty. There is a "monster" lurking behind Winkie's Diner, which could be the embodiment of Betty's fear. Fairy tale motifs abound: keys to open curiosities, and dangerous red in abundance. But poor Betty is blinded by the stars.
Lynch dallies once more with the Moebius strip narrative. Is this what hell looks like - to relive our life on the fragments of memory, shattered like a skull by a self-inflicted bullet? Or is Lynch simply shuffling the narrative pack, portraying these dreadful events as an abstract artist envisions the horror of death, in a way that movies will never quite manage?
As the camera explores the catacombs behind the façade of the boulevard like a prowling creature, Lynch's sense of space and light has never been better. We are guests in the grey area between waking and sleep, only to find it's been painted all gaudy. Scenes - such as when Adam is summoned to a ranch to take counsel with a sage cowboy - are seemingly conjured by Betty in the way one recalls a conversation in a dream: rationalised, making purposeful the philosophical, retrospectively plotting a narrative, writing our own film. Perhaps that's the delight of Mulholland Drive: in filling the gaps, we are allowed to make the film our own.