Mulholland Drive Film Analysis

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The idea of Spectatorship in David Lynch’s Mulholland Drive (2001) : We don’t stop here!


Films have always been a medium of great importance and still continue to amuse and interest its audience. Films of different languages and different genres are released worldwide over a year. Some of them grab the attention of a large audience while some others go even unnoticed. The success and greatness of a film is usually connected with its ability to influence and transform the audience. This Aristotelian aesthetics unconsciously works in a film spectator who feels himself in a position internal to the events on the screen.

But such monolithic traditional film conventions have been challenged by radical film-makers like Godard, by distancing
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As opposed to the beginnings of Twin Peaks: Fire walk with Me (1992) or Lost Highway, this film opens with a moderately clear, if particular narrative. A woman emerges from a car crash without any memory. While hiding out in an apartment she has stuck into, she meets an alternate lady who helps her in the journey to find out her personality. During this search, the two fall in deep love. This, in short, represents the narrative trajectory of the first part of the film. Despite the fact that there are peculiar backups and perplexing additional events to this trajectory, the essential story itself bodes well. It appears to totally misinterpret Stanley Kauffmann's claim, in his discussion of film's opening that sense is not the point: the responses are the point (Kauffmann, 28). While one may be enticed to concur with Kauffmann concerning the movie’s conclusion, its opening certainly has a high level of coherence. It also has an unusual aura about it that serves to undermine this rationality and to provide some acceptance to Kauffmann's dispute that Lynch implies the first part of the film to be more suggestive than sensible. By joining together sense with the fantasy and imagination, Lynch utilises the first part of Mulholland Drive to explore the role that fantasy has in rendering the spectators experience

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