Two women lost in a nightmarish Hollywood odyssey they revolutionized the industry twenty years ago. David Lynch and Angelo Badalamenti served the film of the lives of Naomi Watts and Laura Elena Harring on a platter. ‘Mulholland Drive’ turns 20 and time does not seem to pass for it. Lynch’s film remains unflappable over the cloud in which it arrived in 2001.
A good bad trip
When screened in May 2001 at Cannes, David Lynch’s film won the Best Director Award and plunged its viewers into adoration and bewilderment in the face of
a another film of incoherent narrative. Its disoriented protagonists Across the boulevard of broken dreams are also our limited heads of rational human beings trying to make sense of the things we don’t understand.
The confusion and loss of identity, the daydreams, pair the film with ‘Twin Peaks’ or ‘Lost Highway’, together with which it probably forms the sacred Lynch trilogy. Not in vain this was going to series derived from his television masterpiece. In the same way we could say that ‘Inland Empire’ will work as its very long epilogue. Anyway, ‘Mulholland Drive’ is a movie that it is made so that it cannot be analyzed. At least not during its launch. It is a state of mind, a sensation. A film that runs free through our veins a la kamikaze.
“I don’t like to insist too much on the meaning of things,” Lynch said at the time. Naomi Watts, the star of the show, wasn’t short on questions during the promo either: “Why do you want to know everything when you see a movie? You cannot always answer everything. The magic of his work is that the public is free to think for themselves, “said the actress.
‘Mulholland Drive’ looks like an approximation between classic noir and Lynch’s usual work, resulting in a ‘Neo-noir’ that refreshed the genre through the trend of the moment, as Nolan’s ‘Memento’ did shortly before. or I would later do Rian Johnson’s ‘Brick’. Identity disorders, reflections of unfamiliar personalities that actually appear possessed characters from a b series from the 40s. Flirting with horror is something Lynch always handles better than just about everyone else.
Lynch invites the viewer to fill in the blanks in an exercise of will that not everyone would be willing to do. Perhaps that is why now, 20 years later, wiser and more accustomed to such efforts with the least simplistic narrative, the viewers of then, but also the new ones, are able to appreciate more and better a key title in the filmography of one of the most important and influential directors that we still have.