David Lynch has worked with black and white before on two of his earliest films, Eraserhead and The Elephant Man so I thought for this weeks instalment we'd test drive his magnum opus Mulholland Drive and see how it holds when given the black and white treatment.
Yup, still scary in black and white.
I must point out that the little... what you call it? Is it an apartment complex? Not really. I don't know. Anyway, whatever it is, this little enclave of sorts is absolutely stunning in colour. In black and white it reminds me so much of Sunset Boulevard, which I am quite certain was Lynch and production designer Jack Fisk's intention all along. Do these sort of places even exist anymore? I want to live there if they do.
Aaah, Gilda. One of my favourite black and white films. One of yours, too?
I chose this screenshot because it's my absolute favourite shot in the entire movie. Not exactly sure why, but it is. Doesn't Naomi Watts' skin kind of glow like it does in silent movies?
Like a Hitchcock heroine.
Jeepers creepers! Something about this amuses me so much. It's like Doris Day or Dusty Springfield. Now that's a Lynch collaboration that would've bear bizarre fruit.
Oddly, one of the film's most obvious '50s moments is this musical sequence to Connie Francis' "Sixteen Reasons", doesn't look that classic. Hmmm.
One of the best things Lynch does throughout the entirety of Mulholland Drive is mix with the identities of Betty and Rita. Constantly framing them so that their bodies and their faces have the lines blurred. Who is who and so forth. This shot was my favourite example of it. It's also quite ABBA, teehee.
The Lady in the Radiator returns! And she's singing Roy Orbison in SPANISH!!!!
Interestingly, the film's final act where everybody switches up proves less forthcoming with interesting stills, even though it is just as beautiful as the rest of the film. I chose this moment, however, because it reminded me of an old horror movie. Like The House of Usher or something, ya know? Dusty old mansions and the like.