David Lynch's Mulholland Dr. as successful art film

¶ … Mulholland Dr., directed by David Lynch. Specifically, it will compare the film with the essay "Babes in Babylon," by Graham Fuller.

MULHOLLAND DR.

The film "Mulholland Dr." is everything Fuller says, and more. Viewed only as an art film, the scenes are lush, dramatic, dark, and classic film noir. Just like its Los Angeles setting, it is sensual, quirky, weird, and difficult to comprehend in the end. As Fuller concedes, "Given its unpromising beginnings, this lethally perfumed neo-noir may be even more remarkable as a successful marriage of form and subject" (Fuller). In other words, for some unknown reason, the movie works, perhaps because of Lynch's dedication to eccentricity and mystery. It is difficult to discern when the characters are awake or dreaming, or why some of the characters even exist, such as the odd couple who bid Betty adieu at LAX, and hoot merrily after she leaves. Lynch's projects seem to be full of these odd ducks, who do not seem to move the plot along, but turn up later and leave lasting impressions with the viewer.

While the script is not as strong as it could be - with so many twists and turns, how could it be - the filmmaking more than makes up for the lack of coherence in the script. The photography is almost as lush as the bright red lipstick so prevalent throughout the film. "Mulholland Dr." succeeds as an art film not because of the characters, who keep repeating themselves, or even the photography. It succeeds because it dares to be different, and dares to push the viewer to the limit. If you do not pay attention in this film, you will be lost early on, and none of the character shifts will make sense (not that they do anyway).