Mulholland Drive makes perfect sense
When David Lynch’s film Mulholland Drive was released in American cinemas 25 years ago this Monday, the critic Roger Ebert rejoiced that one of Lynch’s experiments at last “doesn’t shatter the test tubes.” Ebert seemed delighted that Lynch had focused on some of the more prosaic aspects of filmmaking – plot, character, dialog – instead of privileging sound and vision: he argued that his 1997 film Lost Highway was “about design, not cinema.” Lynch had been having a bad run. Lost Highway was largely panned by critics for being too obscure, and he responded with the 1999 road drama The Straight Story. It’s tempting to see The Straight Story as a wounded joke: the film was rated a family-friendly “G.