September 15, 2013

Deep River, Ontario


Mulholland Drive (David Lynch, 2001). “I fell in love with the actress / she was playing a part I could not understand.” From my capsule review sometime in the past decade: Lynch’s theme is the use and abuse of young women in Hollywood. As in several of his other films, Lynch reveals that the strings of the visible world are pulled by a hidden cadre of evil men who seem to have supernatural powers – part-Mafia clan, part-occult lodge, these shadowy figures giving enigmatic instructions in secret rooms date back to Twin Peaks, at least. Other abiding Lynch concerns recur: doubles and ventriloquism, the inexplicable sadness of popular songs, odd scenes in coffee bars … On the fourth viewing, possibly the fifth: the red herrings and loose threads from the abandoned TV pilot are more glaring and seem impossible to absorb into any straight-forward dream/realism reading or decoding, and you notice that the break between the Betsy section and the Diane section now seems to mirror the split between the goofy comedy of the Twin Peaks series and the deeper horror of Fire Walk With Me.