The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
Essentially a prequel to David Lynch and Mark Frost's earlier TV series "Twin Peaks". The first half-hour or so concerns the investigation by FBI Agent Chet Desmond (Chris Isaak) and his partner Sam Stanley (Kiefer Sutherland) into the murder of night-shift waitress Teresa Banks in the small Washington state town of Deer Meadow. When Desmond finds a mysterious clue to the murder, he inexplicably disappears. The film then cuts to one year later in the nearby town of Twin Peaks and follows the events during the last week in the life of Laura Palmer (Sheryl Lee) a troubled teenage girl with two boyfriends; the hot-tempered rebel Bobby Briggs (Dana Ashbrook) and quiet biker James Hurley (James Marshall), her drug addiction, and her relationship with her difficult (and possible schizophrenic) father Leland (Ray Wise), a story in which her violent murder was later to motivate much of the TV series. Contains a considerable amount of sex, drugs, violence, very loud music and inexplicable ... Written by
I lack the ability to objectively scrutinize this film's value on a movie-goers' level. This film's artistry took me beyond the aesthetic and intellectual, and into a phsychological landscape I haven't been before or since.
One must grasp the chaos, or have been a witness to it in their own reality, to feel the depth of this film and Lynch's use of contrasting landscapes of innocence vs. evil, duality, contradiction, femininity, nostalgia, Etc., that somehow manage to make perfect sense: as long as we don't try to make sense of it. This film is about getting lost. It must be intuited, felt in the dark, to be truly appreciated. It's the only cinematic experience that I call "magical". I was unable to review this in an impersonal way.
Besides that, and for those who don't really "get it", the acting, directing, production, writing, plot, Etc. all make the film worth seeing more than once. But those are just the little things.
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