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Jenise Hudson can be reached at
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'Mulholland Drive' Winds Down Haunting, Creepy Path
By Jeremy Fisher
Staff Writer
When it comes to making films that
view the world through the darkest
pitch imaginable, nobody beats David
Lynch.
The iconoclas
tic director’s latest
trip down the cin
ematic rabbit hole
is “Mulholland
Drive," a dark and
, ~^~Fmov/e>
review/
"Mulholland Drive"
enthralling mystery of identity that just
might be his most engaging film since
“Blue Velvet.”
The film follows Betty (Naomi
Watts), an aspiring actress who lands
bright-eyed in Hollywood, only to find
a mysterious amnesiac hiding in her
rented house. The girl, who calls herself
Rita (Laura Harring), is the lone sur-
carolina
union
performing
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scries
2001-2002
January 28
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DIVERSIONS
vivor of a car crash, but she can’t
remember who she is or where she was
going. All she recalls is where the crash
happened - Mulholland Drive.
Betty takes pity on Rita and decides it
would be fun to solve the puzzle, since
“it’ll be just like a movie.” What Betty
finds, and how her discoveries connect
with a second plot involving a brash
young director and a malevolent casting
syndicate, fuels a sense of dread that
unfolds into a surrealistic nightmare.
All of the keystone Lynch visual cues
make an appearance - the camera slides
creepily down hallways, the night is
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filmed with an intoxicating noirish
intensity and every lingering close-up
seems to suggest something that the
audience can’t quite grasp. It’s one of’
those rare films that scares you without
explanation. It seems that any second,
something horrible could happen.
The film actually shares a lot in com
mon with “Lost Highway,” Lynch’s con
troversial and perplexing film that
examined the duality of identity and the
nature of evil in an otherworldly Los
Angeles. The biggest gripe with “Lost
Highway” was that it didn’t make sense.
Lynch handed the audience the pieces
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Former National Security
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Wednesday
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The University of North Carolina
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Free and open
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Sponsored by
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University Center for International Studies
College of Arts and Sciences
of the puzzle and never put them togeth
er.
Well, the same might be said of the
relentlessly unnerving “Mulholland
Drive.” Characters that seem important
pop up once and never show them
selves again, and there are scenes that
don’t seem to have anything to do with
the main action. There are tons of sug
gestion but very little exposition. In its
last half-hour, the film completely dis
solves into a terrifying celluloid kalei
doscope, where nothing -and no one
-as it is.
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Against Terrorism:
and Change
.
Thursday, November 1, 2001
Whether you find the film’s spectac
ularly ambiguous denouement
enthralling or infuriating depends on
your weirdness threshold. It’s obvious
that Lynch wants the audience to draw
their own conclusions from this psycho
logical labyrinth. But although Lynch is
keeping all the secrets to himself, this
only makes his spellbinding journey
through the nocturnal hell of
Hollywood all the more compelling.
The Arts & Entertainment Editor can
be reached at artsdesk@unc.edu.
7