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today we're watching my first David Lynch movie ever - Mulholland Drive!

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Peter Wyatt

I used to like this film only because I was in my early days as a writer, and my early days as a writer were as pretentious as it could have gotten. I believe the technical term is the Dunning-Kruger effect. These days, I'm far more humble about what I write. That humility has taught me that when it comes to these types of movies, shows, or whatever else where the plot is so obscure that it requires what you've shown to be a step-by-step process into understanding it, it's only the result of bad writing. Sure, once you've read through what you've posted, have done extensive research into the plot's underlying details or "meanings", have discussed the story with other people to try to gain insight into what you've witnessed, then it might all come together. But if it has to take all of that, all of that additional explaining and exposition, then I truly believe that's the fault of the writer. That is, if the writer would depend on external exposition for their audience to understand anything, then they've failed to let their work do the explaining for the audience.

Camron

David Lynch makes abstract art. You don’t have to like it, but it’s hardly poorly written. And in the case of this film, it’s not even all that cryptic.

Peter Wyatt

The question is, how many times did you watch this movie? And after the first time or even the second time, how much added clarification did you need to grasp all the plot points? I ask these questions because if you're here to claim that it's not "all that cryptic", I'll need to know if you understood the plot on the first watch. A movie should really only be watched a second time to pick up on details that are deemed as "extra". As in, they'd be details that don't relate at all to the main plot, as they are details that only reinforce the plot's strength. Such as, to watch a film for the second time to see what's extra about the plot, you'll see certain more subtle details like those that relate to foreshadowing. This means that if you have to watch a movie a second time to understand the plot's linear structure, there's something wrong with the plot. But that's only if you're definitely not alone with that confusion. If there are many other people who've expressed similar complaints of confusion, then the problem lies with the writing, not you.

Peter Wyatt

Also, whether I like or dislike a movie, being the enjoyment factor, has nothing to do with the quality of a movie, a show, a video game, a novel, or anything else that has a storyline embedded into it. I could enjoy McDonald's as my favorite kind of food. The quality is bad, but I'll still like it, meaning my enjoyment of it has nothing to do with the intentions behind McDonald's, the company.

Camron

Spoonfeeding plot to the audience isn't any part David Lynch's artistic intent, and how easy something is to arrange into a linear story in your head isn't an objective measure of quality.

Camron

Great post! Your entire theory at the end is pretty much the exact way that I and most people interpret this movie. David Lynch famously refused to explain any of his movies, leaving the interpretation up to the audience.

PCTech714

Mulholland Drive was originally a 90-minute pilot for a series that was never greenlit. I only just found out by watching a YT video about the movie this morning. You kind of get that impression when characters, like the detective that Robert Forster plays, appear in one scene and then never come back. The detective would have been more developed in later episodes. Also, there's the mysterious black book that the clumsy assassin "Joe" takes which would have more significance later if it had gone to series. Btw, the gun Joe used in the scene in the office (which we also see in the beginning with the attempt to kill Rita) is fitted with a silencer, designed to reduce the noise of the shot. It's why it looks so unusual. A lot of movies, like this one, get it wrong. It loses most of its effectiveness after the first shot.