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Topic	The SephG Top 250 [movies] - Topic II: the top 75
Nelson_Mandela 07/15/19 3:46:04 PM #280:	#2. Mulholland Drive https://upload.wikimedia.org/wikipedia/en/0/0f/Mulholland.png Dir: David Lynch Genre: Drama, Mystery Year: 2001 *SephG Superlative: The greatest drama ever; the greatest movie of the 2000s* Mulholland Drive is the final culmination of everything avant garde cinema has been building toward for a century. No, that is not an overstatement. Mulholland Drive is weird, abstract, impossible to dissect in a logical manner. But its also the best representation for why that doesnt necessarily matter in the world of filmmaking. It can still leave you breathless anyway. David Lynchs magnum opus opens with a dreamlike swing dance competition set against a generic purple backdrop. Betty/Diane (Naomi Watts) enters the spotlight and is crowned the winner. Thats where the traditional narrative of Mulholland Drive ends, and the phantasmagoria begins. The first half of Mulholland Drive is a neo-noir, Nancy Drew-like mystery wherein Naomi Watts tries to help a stranger with amnesia find out her identity. The mystery is absorbing in itself, but its the seemingly unrelated side stories--a director getting strong-armed by the mob, a hitman trying to find a mysterious black book, a nightmarish homeless man living in a man's dreams and ~~behind a diner (the scariest 2 seconds Ive ever seen in a movie~~), and a stage play that doubles as a window into another reality--that really brings the intrigue to a whole other level. I wont even begin to talk about the second half in the hopes that someone reading this can watch the movie for the first time without any preconceptions, but lets just say that its one of the most insane and engrossing pivots of all time. The tonal shift accompanies this change in narrative and the fantastical first half seems to devolve into a true nightmare in the second. And this is where the avant garde finally reaches its natural apex. Without any push from the narrative, we start to understand what is happening through nothing more than symbols, lighting, cinematography. The film strip itself takes over and tells us all we need to know to reveal the story, and it is a transcendental experience. Some may get it right away, others may require repeat viewings. But one thing is for sure: Mulholland Drive is the product of a true artist creating his own abstract take on Hollywood and what it means to have an identity in that city--a story that could only be captured by film itself. --- "A more mature answer than I expected."~ Jakyl25 "Sephy's point is right."~ Inviso <cite>Nelson_Mandela posted [p:924725115] in The SephG ... [t:77811548]...</cite> <quote>#2. Mulholland Drive https://upload.wikimedia.org/wikipedia/en/0/0f/Mulholland.png Dir: David Lynch Genre: Drama, Mystery Year: 2001 SephG Superlative: The greatest drama ever; the greatest movie of the 2000s Mulholland Drive is the final culmination of everything avant garde cinema has been building toward for a century. No, that is not an overstatement. Mulholland Drive is weird, abstract, impossible to dissect in a logical manner. But its also the best representation for why that doesnt necessarily matter in the world of filmmaking. It can still leave you breathless anyway. David Lynchs magnum opus opens with a dreamlike swing dance competition set against a generic purple backdrop. Betty/Diane (Naomi Watts) enters the spotlight and is crowned the winner. Thats where the traditional narrative of Mulholland Drive ends, and the phantasmagoria begins. The first half of Mulholland Drive is a neo-noir, Nancy Drew-like mystery wherein Naomi Watts tries to help a stranger with amnesia find out her identity. The mystery is absorbing in itself, but its the seemingly unrelated side stories--a director getting strong-armed by the mob, a hitman trying to find a mysterious black book, a nightmarish homeless man living in a man's dreams and behind a diner (the scariest 2 seconds Ive ever seen in a movie), and a stage play that doubles as a window into another reality--that really brings the intrigue to a whole other level. I wont even begin to talk about the second half in the hopes that someone reading this can watch the movie for the first time without any preconceptions, but lets just say that its one of the most insane and engrossing pivots of all time. The tonal shift accompanies this change in narrative and the fantastical first half seems to devolve into a true nightmare in the second. And this is where the avant garde finally reaches its natural apex. Without any push from the narrative, we start to understand what is happening through nothing more than symbols, lighting, cinematography. The film strip itself takes over and tells us all we need to know to reveal the story, and it is a transcendental experience. Some may get it right away, others may require repeat viewings. But one thing is for sure: Mulholland Drive is the product of a true artist creating his own abstract take on Hollywood and what it means to have an identity in that city--a story that could only be captured by film itself. --- "A more mature answer than I expected."~ Jakyl25 "Sephy's point is right."~ Inviso</quote> ... Copied to Clipboard!
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