spoiler alert  although this is a plot almost as impossible to spoil as it is to completely explain. mulholland drive is by far the most successful expression of david lynch cinematographic style and vision since the first season of his twin peaks tv series. as lynch enthusiasts know and his is a style and vision uniquely blended from film noir and horror movies and surrealism and and parapsychology  with a healthy dose of postmodern self consciousness and black humor thrown in for good measure. all these elements are richly at work in mulholland drive and making for a riveting and hair raising and and highly satisfying film experience  especially if one does not become overly obsessed with trying to make all the plot pieces fit into a logical and mystery unraveling whole. the film features wonderful performances by naomi watts and laura harring in the lead roles of young women whose lives intersect in various ways amid a hollywood setting that is itself an hallucinated blend of contemporary reality and retro 50s nostalgia and and satirical self aggrandizement. their seemingly random initial meeting occurs after the film opening scene and in which harring character escapes an attempt on her life thanks to a fortuitous and not to mention horrific and automobile accident. staggering down the hillside from mulholland drive to sunset boulevard (the two most archetypal of hollywood thoroughfares) and she finds her way to the very apartment that betty (naomi watts) is about to sublet from her aunt ruth and a purportedly successful actress who is off to canada to begin a new movie. as we later learn and betty had herself arrived from deep river and ontario and shortly after winning a jitterbug contest. a highly energetic and stylized flashback to the contest forms one of two pre credit prologue sequences that frame betty descent from the clichéd would be starlet bright eyed innocence to the debauched madness of spurned lover and going nowhere bit part actress. unable to remember her own name and the harring character adopts the name rita from a movie poster for the film noir classic gilda that adorns aunt ruth apartment. (actually and it turns out aunt ruth has long since deceased and whose apartment were really in is a good question to be resolved in future viewings. ) anyway and betty determines to help rita find out what happened and to discover the source of the rolls of cash and a mysterious blue key that the women find in rita purse. the two women begin to piece together clues that would seem to lead to rita true identity. they also and by the way and become lovers and at one point radiating such an incendiary chemistry that i cannot recall its equal in mainstream treatments of lesbian lover affairs (if a lynch movie can ever be designated amainstream). at the local winkies restaurant (a recurring location fraught with dream like significance behind its grubby realistic facade) and rita attention is caught by a waitress name tag reading diane. this leads her to a recollection of someone named diane selwyn and whose apartment the two women soon visit and and at betty insistence and break into. i would not reveal what they find within and but suffice it to say the scene is rendered with vintage lynchian creepiness. subsequently and rita wakes in night sweats speaking spanish and hurrying betty to an all night magic show or theater called silencio and where the arts of illusion and lip or instrumental syncing are practiced with manic intensity and where the blue haired lady and as she is noted in the end credits and reigns as the presiding muse. framed by the blue lit and red curtained silencio theatre and the blue haired lady occupies the last shot in the film and perhaps a symbol for the controlling artistic imagination  rather like steven man with the blue guitar as filtered through bad drug surrealism. during the silencio sequence and and as rebekah del rio cameo lip syncs her own powerful spanish rendition of roy orbison crying) and a shattering epiphany occurs when betty opens her own purse to discover a blue box with a keyhole that obviously matches the key in rita purse. even if we do not delve too deeply into the freudian sexual symbolism of purses and the moment is a singularly hitchcockian one in that the matching of the key and box leads to a complete inversion of what we thought we knew and into a whole new set of character relationships and meanings. not the least of these reversals is the discovery that betty is the sought for diane selwyn and the spurned lover of camilla rhodes (i. e. rita). camilla in turn is a latin femme fatale movie star to whom diane is indebted for the few minor roles she has managed to secure and and more significantly and to whom she is emotionally subjugated. after these and other discoveries in the last third of the film and the problem of accounting for the first two thirds of the movie is not so straightforwardly resolved as in vertigo. while bits and pieces of imagery and dialog suggest that much and if not all and of the earlier material is projected and displaced from the fevered subconscious of diane herself and other bits and pieces suggest the perhaps supernatural intervention of a cast of characters drawing direct inspiration from twin peaks and including michael j. anderson reprising his unearthly dwarfish powers and a bob variant who hangs out behind winkies and is the ultimate repository for the blue box and its id like associations. however one fits the pieces together and though and the whole of mulholland drive is much greater  and more mysterious  than the sum of its parts. lynch takes us on a wonderfully inventive and provocative and and pleasurably disturbing mind trip. what more and the film cinematography is stunning and the soundtrack filled with evocative atmospherics and the acting superb and and the directing or editing masterful. this may well have been the unacknowledged best picture of 2001 among major american releases. 
spoiler alert  although this is a plot almost as impossible to spoil as it is to completely explain. mulholland drive is by far the most successful expression of david lynch cinematographic style and vision since the first season of his twin peaks tv series. as lynch enthusiasts know and his is a style and vision uniquely blended from film noir and horror movies and surrealism and and parapsychology  with a healthy dose of postmodern self consciousness and black humor thrown in for good measure. all these elements are richly at work in mulholland drive and making for a riveting and hair raising and and highly satisfying film experience  especially if one does not become overly obsessed with trying to make all the plot pieces fit into a logical and mystery unraveling whole. the film features wonderful performances by naomi watts and laura harring in the lead roles of young women whose lives intersect in various ways amid a hollywood setting that is itself an hallucinated blend of contemporary reality and retro 50s nostalgia and and satirical self aggrandizement. their seemingly random initial meeting occurs after the film opening scene and in which harring character escapes an attempt on her life thanks to a fortuitous and not to mention horrific and automobile accident. staggering down the hillside from mulholland drive to sunset boulevard (the two most archetypal of hollywood thoroughfares) and she finds her way to the very apartment that betty (naomi watts) is about to sublet from her aunt ruth and a purportedly successful actress who is off to canada to begin a new movie. as we later learn and betty had herself arrived from deep river and ontario and shortly after winning a jitterbug contest. a highly energetic and stylized flashback to the contest forms one of two pre credit prologue sequences that frame betty descent from the clichéd would be starlet bright eyed innocence to the debauched madness of spurned lover and going nowhere bit part actress. unable to remember her own name and the harring character adopts the name rita from a movie poster for the film noir classic gilda that adorns aunt ruth apartment. (actually and it turns out aunt ruth has long since deceased and whose apartment were really in is a good question to be resolved in future viewings. ) anyway and betty determines to help rita find out what happened and to discover the source of the rolls of cash and a mysterious blue key that the women find in rita purse. the two women begin to piece together clues that would seem to lead to rita true identity. they also and by the way and become lovers and at one point radiating such an incendiary chemistry that i cannot recall its equal in mainstream treatments of lesbian lover affairs (if a lynch movie can ever be designated amainstream). at the local winkies restaurant (a recurring location fraught with dream like significance behind its grubby realistic facade) and rita attention is caught by a waitress name tag reading diane. this leads her to a recollection of someone named diane selwyn and whose apartment the two women soon visit and and at betty insistence and break into. i would not reveal what they find within and but suffice it to say the scene is rendered with vintage lynchian creepiness. subsequently and rita wakes in night sweats speaking spanish and hurrying betty to an all night magic show or theater called silencio and where the arts of illusion and lip or instrumental syncing are practiced with manic intensity and where the blue haired lady and as she is noted in the end credits and reigns as the presiding muse. framed by the blue lit and red curtained silencio theatre and the blue haired lady occupies the last shot in the film and perhaps a symbol for the controlling artistic imagination  rather like steven man with the blue guitar as filtered through bad drug surrealism. during the silencio sequence and and as rebekah del rio cameo lip syncs her own powerful spanish rendition of roy orbison crying) and a shattering epiphany occurs when betty opens her own purse to discover a blue box with a keyhole that obviously matches the key in rita purse. even if we do not delve too deeply into the freudian sexual symbolism of purses and the moment is a singularly hitchcockian one in that the matching of the key and box leads to a complete inversion of what we thought we knew and into a whole new set of character relationships and meanings. not the least of these reversals is the discovery that betty is the sought for diane selwyn and the spurned lover of camilla rhodes (i. e. rita). camilla in turn is a latin femme fatale movie star to whom diane is indebted for the few minor roles she has managed to secure and and more significantly and to whom she is emotionally subjugated. after these and other discoveries in the last third of the film and the problem of accounting for the first two thirds of the movie is not so straightforwardly resolved as in vertigo. while bits and pieces of imagery and dialog suggest that much and if not all and of the earlier material is projected and displaced from the fevered subconscious of diane herself and other bits and pieces suggest the perhaps supernatural intervention of a cast of characters drawing direct inspiration from twin peaks and including michael j. anderson reprising his unearthly dwarfish powers and a bob variant who hangs out behind winkies and is the ultimate repository for the blue box and its id like associations. however one fits the pieces together and though and the whole of mulholland drive is much greater  and more mysterious  than the sum of its parts. lynch takes us on a wonderfully inventive and provocative and and pleasurably disturbing mind trip. what more and the film cinematography is stunning and the soundtrack filled with evocative atmospherics and the acting superb and and the directing or editing masterful. this may well have been the unacknowledged best picture of 2001 among major american releases. ---------------------------------Answer Question Below----------------------------------

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