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Mulholland Dr. [Region 2] | ![Mulholland Dr. [Region 2]](http://ecx.images-amazon.com/images/I/314D6Q0VJ1L._SL500_.jpg)
| Director: David Lynch
Actors: Justin Theroux, Laura Harring, Naomi Watts, Ann Miller, Dan Hedaya
Studio: Concorde
Category: DVD
Buy Used: $24.57
Used (2) from $24.57
Rating:  1022 reviews
Sales Rank: 175533
Format: Pal
Languages: English (Original Language), German (Original Language)
Rating: R (Restricted)
Region: 2
Aspect Ratio: 1.85:1
Number Of Discs: 1
Running Time: 141 Minutes
Shipping Weight (lbs): 0.3
Dimensions (in): 7.6 x 5.3 x 0.6
MPN: 2094
EAN: 4010324020949
ASIN: B00005U51E
Theatrical Release Date: 2001
Availability: Usually ships in 1-2 business days
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Amazon.com
Pandora couldn't resist opening the forbidden box containing all the delusions of mankind, and let's just say David Lynch, in Mulholland Drive, indulges a similar impulse. Employing a familiar film noir atmosphere to unravel, as he coyly puts it, "a love story in the city of dreams," Lynch establishes a foreboding but playful narrative in the film's first half before subsuming all of Los Angeles and its corrupt ambitions into his voyeuristic universe of desire. Identities exchange, amnesia proliferates, and nightmare visions are induced, but not before we've become enthralled by the film's two main characters: the dazed and sullen femme fatale, Rita (Laura Elena Harring), and the pert blonde just-arrived from Ontario (played exquisitely by Naomi Watts) who decides to help Rita regain her memory. Triggered by a rapturous Spanish-language version of Roy Orbison's "Crying," Lynch's best film since Blue Velvet splits glowingly into two equally compelling parts. --Fionn Meade
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| Customer Reviews: Read 1017 more reviews...
 Lynch's Multi-Layered Jiggsaw Puzzle June 24, 2009
Bernardo Hayes (Wollongong Australia)
From the outset I must confess that this review is not so much a conventional movie review per se but rather a deeper character and
plot examination/analysis, which I hope will unveil and perhaps shed
some new light on the meanings behind David Lynch's supreme film noir mind bender - Mullholland Drive.
So if you want to experience the thrill of unravelling and 'investigating' the myriad jiggsaw puzzle-like aspects of this movie
for yourself then proceed no further. For those of you familiar or even
well acquainted with the Mullholland Drive universe you may be intrigued
by the theories I present here - so here goes.
First of all, I have not found on any Mullholland Drive internet forums or chat groups discussion about how crucially important a part the 'Cowboy' character plays in the story and in solving/unlocking the various plot threads of the puzzle. How understanding who he is and more importantly who he represents and or symbolizes in Dianes' dream and waking life/reality allows all the pieces of the puzzle to fall into place.
The 'Cowboy' has to be one of the most bizarre, chilling and creepiest of creeps in the history of cinema and one that only could have been spawned from the mind of David Lynch ( it's my belief that Lynch has created some of cinema's most diabolically perverse and just plain nasty bad guys or creeps - think Frank Booth in Blue Velvet or Bobby Peru - Wild At Heart - truly sinister).
So lets look more closely at the 'Cowboy' character . It is revealed to us the viewer that the 'Cowboy' holds ultimate control and power over
all the movie's characters and most likely Hollywood. He is the one who is controlling everything - from his underling mob henchmen - The Casiglieri brothers to Camilla Rhodes' bodyguards to the midget Mr Roake.
He is the head honcho, the one calling all the shots from up high in the
Hollywood hills from his 'Corrale'. He has the power to close down the
production of a feature film and he has the power to recast a starring actress (Camilla) in his movie - and it is his movie.
Lynch makes it very clear to us that this is the case. The Cowboy basically uses extortion and threats to strongarm the Adam Kesher character into agreeing to his terms - 'You can ride along with me'.
Now if you accept my theory that he is the ultimate antagonist in the
film and therefore in Diane's dream - pulling all the strings as it were, then we must examine and analyze this character even further.
You will need to watch the film perhaps a few more times to pick up these
details however I will point out some here:
a) Pay special attention to what the 'Cowboy' says and how he says it.
You will notice that he speaks with a 'Southern' accent (possibly Texan) - this is important.
b) Also, look closely at his outfit. No mistaking he's a cowboy alright
with his 10 gallon hat and all. Is it much of a stretch for us to imagine he could also be wearing a Sheriff's badge? Could it be that the
'Cowboy' is also some kind of 'Old Western' stlye Sheriff or U.S Marshall
maybe even a Texas Ranger?
He certainly weilds his power, authority and clout as if he were some
type of high ranking law enforcer - that is clearly evident.
Lynch uses all manner of clever cinematic devices to weave his intricate tapestry. His use of symbolism, metaphor, omens, dream interpretation, psycho-analysis, American History, fable, myth, allegory, cautionary tale, alter ego, dual character, reference/homage to 'Old' Hollywood -
particularly The Wizard of Oz, magic and many more is all here and laced throughout Mullholland Drive.
So if we accept that the 'Cowboy' is not a minor character and is more significant in the context of the plot than what he appears to be at face value, then literally a whole other Pandora's box opens up, with truly new meanings and earth shattering implications unfolding.
I will briefly outline some here.
I believe that the 'Cowboy' is represented not just as the 'Cowboy' but as
2 other characters in the dream section of the movie. They are, can you guess? Gene the Pool Man played by well known country music popstar Billy Ray Cyrus - no less. Making the connection now? And the other manifestation of the 'Cowboy' is the creepy man Betty (Diane) performs
the audition scene with - Wally I think his name is.
Again, if you watch Wally carefully in this scene you will see that he speaks and acts very much like a 'B' grade 'Western' actor from the 1950's and 60's. In the scene they are rehearsing in front of the small group of Director, Producer, Casting Agent etc etc, and in the script Wally plays the part of the girl's incestuous uncle - now this is a key clue. If we apply the logic that the 'Cowboy' is actually being represented or embodied as 3 characters-Cowboy, Gene (Poolman)and Wally then we can begin to see how Lynch is carefully laying the groundwork for us to pick up the true identity of the 'Cowboy' and his real relationship to Diane.
After careful deduction we can see that the 'Cowboy' is a symbolic dream representation of Diane's real-life evil and incestuous Uncle who was the corrupt town Sheriff with Mob connections and who sexually abused her as a young girl.
I believe Lynch does this with all the other main characters in the movie. In Diane's scrambled dream-logic section of the film (first Three Quaters)characters merge, blur and morph and swap around as they do in actual dreams. However, the fundamental attributes of any particular character remains consistant despite them alternating and changing shape and form. In other words every character depicted in the dream section of
the movie can be directly tranlated as someone from Diane's real life and or past.
By applying this logic I believe Lynch has quite clearly layed out how the puzzle of Mullholland Drive can be solved - everthing is symbolic of
something or someone who is important to the logic of the story. I don't
think Lynch has left any aspect of the film to chance. Nothing has been left unanswered under his masterly direction.
I've run out of time and space here but I would like to continue this
essay and reveal more findings, such as how I believe Adam Kesher is a symbol or metaphor for Diane's father. Details about Diane's sad past-
including how she is actually from the South not the North. I believe
Deep River is really a reference to the South's great Missisippi River.
The true meaning of the Blue Box and many more.
So bye for now
Bruce (24.6.09)
 READ THIS !!! ONE OF THE WORST MOVIES I HAVE EVER SEEN!!! June 21, 2009
T. Meziane (Cleveland, Ohio)
0 out of 1 found this review helpful
Alright, to show you that I know GOOD, different, weird movies with cool endings (everything some people exclaim this movie to be), here's a list. Donnie Darko, Memento, The Machinist, Vanilla Sky, The Others, Seven, Psycho, The Sixth Sense, 12 Monkeys, Frailty, Fight Club, and Existenz. In Jacob's Ladder, it was all a dream, but was way better than this crappy movie. All of these movies were different, cool, and awesome ALL THE WAY THROUGH THE MOVIE, with a deeper message. I'd like anyone to argue Mulholland Drive is better then any of these movies. People are talking about how this movie has deep, significant meaningfulness and how this movie is special because it's different.
It's definately different because I haven't seen such a bad movie since "Don't Mess With the Zohan," which I left 15 minutes in to get my money back. First off, you don't start a movie with 2 minutes of dumb dancing. I almost turned it off there, but then I said to myself "give the movie a chance." So I waited and I saw some kids get in a car wreck, which was kind-of cool, and this guy who sees this weirdo who looks exactly like the mummy behind a dumpster which was really weird.
But then NOTHING happens. It was so boring. Their was no COMPELLING deeper meaning, no matter how hard you try to tell yourself, because the movie doesn't make you care about what is going on or make you think differently about life, which is what GOOD movies do. I understood what the director was trying to do (portray the darker side of the human mind in dream/really weird way), but he failed.
I love it when people (anyone who says this movie is good-emo's) try to show off and act original, mysterious, and different by saying they identify with something few people understand, even though the thing they love so much is really dumb (this movie).
When making a GOOD movie, you have to keep the audience interested ALL THE WAY THROUGH. You can't just throw weird stuff in every couples minutes, have a lesbian scene, and then try to pull it off at the end by saying it was a dumb dream.
Wow,It amazes me that people can actually sell such garbage, let alone watch it. I mean, did anyone who made this movie stop and say to themselves "this sucks" and maybe we should not embarrass ourselves and release this film? I felt embarrassed watching the movie because it sucked so bad. It is not artistic, not original, and plain NOT GOOD. It's a crime against film making. I wish I could give it 0 stars. DO NOT PUT YOURSELF THROUGH WATCHING THIS MOVIE!!!
F***ING HOT LESOS May 21, 2009
PSYCHEDELIC FIREMASTER (AUSTRALIA)
2 out of 5 found this review helpful
after getting my cock teased for ages with those awesome chicks finally they gave into my desires and just had some of the hottest Lesbian SEX!!! Boy did cum Ahhhhhhh Brilliant film praise the LESOS(not the butch ones they suck!!!!)
Watch this multiple times to get the full effect, you won't regret it. March 21, 2009
Charles Pinady (Los Angeles, CA)
Be forewarned, you will need to give your undivided attention to really enjoy this movie. It has so much going for it that a good portion is lost in its initial viewing. That said, this is one movie that has stood the test of time. I have watched it at least 6 times now. Watched it twice when it came out on DVD and then every other year when I needed a guaranteed cinematic experience. It hasn't lost its luster after all these years. Naomi Watts delivers such a convincing performance in the audition scene that, to this day, deserves an Oscar or some similar form of recognition.
There's A Signpost Up Ahead... March 20, 2009
Bindy Sue Fronkuenschtein (under the rubble)
2 out of 2 found this review helpful
Betty / Diane (Naomi Watts) hates / loves Camilla / Rita (Laura Harring), and wants to kill / spend her life with her. We are invited to share the final few moments of Diane's reality / dream. David Lynch reaches his peak of cinematic expression by giving us both the interior and exterior interpretation of the same grim tale. The former view is Diane's innermost hope / desire in the face of utter hopelessness, her last attempt to make things right in her own soul. The latter is Diane's nightmare life in its true form, complete w/ guilt, remorse, and mind-shattering loneliness. MULHOLLAND DR. is perfect from its sleepy start to its unavoidable end. It is a story about betrayal / murder and revenge / suicide. No matter how many times I watch this movie, I always get something new out of the experience, and want to watch it again...
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