The online magazine Salon ran a piece titled “Everything You Were Afraid to Ask about Mulholland Drive,” untangling the film’s narrative threads and mapping out its cosmology various websites, some maintained to this day, went even deeper, parsing the significance of minor characters and the symbolism of individual objects. Audiences who responded to Mulholland Dr.loved it precisely for its unique architecture as a puzzle movie that required some degree of assembly in the viewer’s head. Like the surrealists throwing words in the air and letting random acts dictate something.” Some reviewers had trouble with the film’s convolutions-Rex Reed’s hysterical screed in the New York Observer pronounced it “a load of moronic and incoherent garbage”-but many others were happy to apply close scrutiny. “But because it started one way, it became like a tricking of the mind. “When the new ideas came in, we went to work on it as if it were a new thing,” he told Newsweek. Still, the film’s widely documented backstory opened Lynch up to questions about process, and he replied candidly at times. “It’s a putrefecation of the mind to talk about it,” he declared at the New York press conference. Lynch was by then getting exasperated with questions about how the feature differed from the pilot he didn’t want people thinking of the film as a salvage job. premiere, at the New York Film Festival in October. The critical line from Cannes-that Mulholland Dr.was beautiful but baffling-carried through to its U.S. ( Variety proclaimed it “compelling but intentionally inscrutable.”) The jury, led by the actress and director Liv Ullmann, awarded the best director prize jointly to Lynch and Joel Coen (for The Man Who Wasn’t There). Most critics were admiring but also claimed to be mystified. Mulholland Dr., a nonlinear movie that requires the active participation of the viewer, was not an easy proposition in the circus-like atmosphere of Cannes, an arena of snap judgments where movies that are not instantly digestible are often ignored or pilloried. Lynch had a generally excellent track record at Cannes, but the last time he made a challenging film, Lost Highway, the critical response had been sharply divided. had its premiere at the Cannes Film Festival in May 2001.
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