Hoberman’s naming of the film “thrilling and ludicrous … entirely instinctual.” Rather than accepting that a film might build itself on poetic logic, they expect novelistic logic-and when that kind of logic is absent, the film gets responses like Stephen Holden’s claim that Lynch is “surrendering any semblance of rationality” or J. When watching "Mulholland Dr.," then, viewers’ enjoyment is decided not by the film itself but by the degree to which they can let it, as William Carlos Williams once said of the modern poem, “spray in your face.” And this is where Lynch has gotten into trouble with his critics. And if the story told is that of a story falling apart, then so be it. The Surrealists savored the explosion that took place when disparate ideas met Lynch savors it too, but only insofar as it serves a larger story he is trying to tell. Near the end of the interview, Lynch alludes to the Surrealist poets, and their seemingly randomized way of associating words and images while it goes without saying that Lynch wears the Surrealists’ influence on his sleeve, the difference between them is crucial. There will be gaps in the information provided, and significant ones: it is the viewer’s large job to fill them in. oets can catch an abstraction in words and give you a feeling that you can’t get any other way.”Īnd that’s just it: grasping this film has to be intuitive it has to be read the way a poem is read. I think that intuition-the detective in us-puts things together in a way that makes sense for us. Lynch says of the film, “I think really know for themselves what it’s about. But the material here that may be most pertinent is found in an interview with Lynch by Chris Rodley provided in the booklet. There’s a lot to chew on in the new Criterion release: personable interviews with stars Naomi Watts, Elena Harring, and Theroux, as well as Lynch himself, soundtrack composer Angelo Badalamenti, and others.
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