Tag Archives: paul thomas anderson

Boogie Nights – Review

7 Jul

Paul Thomas Anderson is one of the most distinct voices in modern film, and I doubt that anyone would diminish the scope and power of his vision. There Will be Blood and The Master are so well photographed and told, while Magnolia tells a surreal, yet human tale. Before all this, however, there was Boogie Nights, Anderson’s break out hit from 1997. Not only was this the start of a career for Anderson, but also for Mark Wahlberg, who was known more for his rap music and work as a Calvin Klein model. To say the least, Boogie Nights is an epic film that hearkens back to the earlier films of Martin Scorsese, but it also stands alone as a singular visionary tale with P.T. Anderson’s style written all over it.

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In the late 1970s, Jack Horner (Burt Reynolds) is one of the leading names in the pornography industry, after directing numerous successful porno films. His real dream, however, is to hook the audience with the story instead of the sex. One night at a club, Horner stumbles upon Eddie Adams (Mark Wahlberg), a young guy with a seemingly non existent future and some really special talents. Adams is soon recruited by Horner and changes his name to Dirk Diggler, a name that will soon be known throughout the porn industry as the greatest male actor to grace the screen. Along with his best friend, Reed Rothchild (John C. Riley), Diggler takes the world by storm, but is soon introduced to a lifestyle of hard drugs and decisions without consequences. This takes a toll on his life, and the lives of everyone around him, and by the time the 1980s hits, it becomes time for Diggler to make some serious decisions about who he is and who he wants to be.

From the very first shot, I knew that I was about to watch a masterfully shot film. The first three minutes is a long take that starts on the marquee of a theater, travels through the street, and finally into the nightclub where we meet Jack Horner and Eric Adams, soon to be Dirk Diggler. I’m a real sucker for long takes like this, and it reminded me very much of the famous long take from GoodfellasBoogie Nights is made of quite a few of these long takes, with another in particular happening about halfway through the movie, which switches gears into overdrive. Other than that, this is just a really nice movie to look at. The outdoor scenes are very bright and really set the tone of the success that Dirk and his friends are feeling. Once the 1980s hits, a lot of the scenes are shot at night which also signifies a massive tonal shift. The way Anderson shoots this movie isn’t just artistic and technically proficient, but it also helps tell the story, and that’s awesome.

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While this is a story about Mark Wahlberg’s character, it’s important to note that it also tells the story of many other characters who come to be associated with Diggler. Other than Burt Reynolds and John C. Riley, Boogie Nights also stars Julianne Moore, Heather Graham, Don Cheadle, William H. Macy, and Philip Seymour Hoffman. I would much rather look at this movie as an ensemble pieces about a time period and the consequences of that time period, with the rise and fall of Wahlberg’s character as a catalyst. Anderson pays such close attention to period detail that it’s hard to argue this movie isn’t about the period in which it takes place. Each character has a different problem or situation that reflects a part of that time, and it gets even worse when the 1980s arrive and they have to come to terms with their past choices.

I keep mentioning the 1980s like it’s some ominous presence looking over the sun drenched horizon of the 1970s, and that’s sort of what it is in this movie. It also marks a point where Anderson makes some poor storytelling choices. The first half of the movie that takes place in the 1970s is note perfect, and I don’t have single complaint. Things take a turn for the worse right when the 80s arrive. This is when the fall of the characters begin, and it’s handled well for the most part, but some of it is just way too over the top and kind of pulled me out of the movie. There’s a really powerful sequence during this part that is followed up by a striking moment with Don Cheadle’s character. This scene alone is really cool and odd, but fitting it in after some really disturbing stuff was like sticking a Spider-Man comic into the Book of Revelations. This scene is really what I’m talking about, and it pulled me out of the movie so much that I just kept seeing all of the over the top moments as individual scenes that could have been turned down a few notches to make a better fit. These are really only a few scenes in a movie that’s two and a half hours long, so it doesn’t hurt the movie too bad, but I felt that I had to mention it.

Boogie Nights is simply a movie that can not be ignored. I consider Paul Thomas Anderson to be one of the best film makers working today, so seeing the movie that kick started his career was a real treat. This film is more than the pornography industry in the 1970s and 1980s. It’s a film about the kinds of decisions that were made by a kind of people that led to a decade of serious trouble. It’s a rise and fall story with a time period that sort of act like characters themselves. This isn’t exactly a perfect movie, but I’d recommend Boogie Nights to anyone and everyone.

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Magnolia – Review

28 Mar

As an aspiring screenwriter, seeing films with many different characters with their own complex stories is a bit of a wonder, especially when it’s done well. Seeing these multiple characters’ story lines intersect and affect one another is almost an overwhelming experience out of the seer difficulty of it. This type of story line are seen in Guy Ritchie’s Lock, Stock, and Two Smoking Barrels and David Cronenberg’s Crash, but the grandest example of this comes from Paul Thomas Anderson’s epic drama Magnolia. This is a beautiful, devastating, and often funny in a down to earth way that forces you to connect on some level to at least one or two characters.

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On a rainy day in the San Fernando Valley, the lives of seemingly unrelated people intertwine and connect in ways that may seem simple, but has the potential to be life changing. Producer Earl Partridge (Jason Robards) is dying of cancer, and his wife Linda (Julianne Moore) can only cope with the death and her own moral insecurities through the use of prescription drugs. Earl’s nurse Phil (Philip Seymour Hoffman) goes on an investigation to find Earl’s lost son Frank Mackey (Tom Cruise), a self-centered sexual guru who wants to stay far away from his family. Jim Kurring (John C. Riley) is a lonely police officer who finds hope Claudia (Melora Walters), the cocaine addicted daughter of Jimmy Gator (Phillip Baker Hall), a game show host where Donnie Smith (William H. Macy) won thousands of dollars on as a child. These lives all collide over the course of a very long day with hopes of salvation.

Clocking in at over three hours long, it would be easy to lose interest in this movie if it wasn’t in the more than capable hands of Paul Thomas Anderson. There are a handful of directors working in film now that can handle the task of making a three hour film interesting for its entirety. I would love to see the screenplay to Magnolia and see how Anderson structured it, because this movie is huge and small at the same time. While you can call this movie epic, I don’t find that this is entirely appropriate because the stories are told on a microcosmic level. Magnolia is a very human film that deals with topics that can be deemed as “mystical” like love and death, but they are all dealt with on a very human level.

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I can’t rave about the writing without also raving about the performances by this stellar mega cast that may be one of the best in film history. Tom Cruise won the Golden Globe and was nominated for an Academy Award for his performance, and rightfully so. His character goes through the most visible change and the range that is needed for this character is huge, and he pulls it off very well. The late, great Philip Seymour Hoffman gives a very understated and realistic performance which made me realize once again the great talent that the acting world has lost. My personal favorite performances in the movie are given by John C. Riley and William H. Macy, both who give borderline tragic performances and probably the most personable to the average human being.

Paul Thomas Anderson’s movies are really beautiful to look at, but it isn’t always easy to say why they are so beautiful. There Will Be Blood has a very open and occasionally dirty visual style and The Master plays with depth of field and distorts the viewer’s point of view. Magnolia, much like its themes, is beautiful on a much smaller level. There are some excellent scenes where instead of cutting up dialogue or traveling, Anderson decides to just keep the camera running which almost made me forget I was watching a movie at times.

Paul Thomas Anderson has created a wonderful piece of cinematic beauty with Magnolia. Everything about this movie is wonderfully executed from the pitch perfect, complex screenplay, unflashy directing, and incredible acting. While the climax of this movie creates some dissension amongst audiences, you can’t deny that this is a movie that makes you think about your own beliefs and your own ways of dealing with the big problems in your life. Problems that are actually very small in the grand scheme of things. Problems that don’t just affect you.

The Master – Review

14 Oct

One statement I don’t think I’m ever going to have to say is, “That new Paul Thomas Anderson movie sucked.” I just don’t think he has it in his genes to make anything less than spectacular. I guess you guys all know where this review is headed now. Yes. The Master was a great movie and definitely a contender for multiple Academy Awards, hopefully even to win Best Picture.

 

Freddie Quell (Joaquin Phoenix) has survived World War II, but not entirely. During the war, he became an alcoholic, and even went so far as mixing poisonous chemicals into his drinks. With the war over, he can’t seem to find a job due to his violent outbursts and manic  tendencies. After scuttling a yacht during a party, he meets Lancaster Dodd (Philip Seymour Hoffman), the leader of a group called The Cause. Dodd immediately sees potential for experimentation with Quell and aides him in beating his addictions and behavior. But is he helping Quell or himself? Does he really mean what he says?

First things first. If Joaquin Phoenix doesn’t win an Oscar for his performance, I will get out of town, jump in a lake, and swim myself into oblivion. Wow, that’s weird, but that’s the equivalent of how I’d feel. I never got the feeling that I was watching Joaquin Phoenix. I felt like I was watching the life of Freddie Quell unfold before my very eyes. He was absolutely fantastic. I’d say it’s not just the best performances of the year, but one of the best performances of all time.

 

The genius of this movie is the way the story presents itself. There isn’t a huge dramatic climax that completely changes the direction of the story. Besides a couple scenes, many of the dramatic beats are very subtle and down to earth. That’s the best way to describe the movie. Down to earth. As a viewer, I felt like I wasn’t watching a conventional narrative, but more just a chronicling of a point in this man’s life. It’s never hard to believe or far fetched, which goes hand in hand with the subtlety of the entire thing. This proves that a movie doesn’t have to be loud or in your face to be intense.

Speaking of, this was a very intense film. Hoffman and Amy Adams play their roles to the best of their abilities and it shows. Hoffman seems like he could start a real movement if he wanted to, and Adams is a quiet storm of boiling anger. The set design and costuming are also very authentic without being extravagant. To top it all off, Johnny Greenwood’s soundtrack thumps and screeches in the background like a lurking malevolent force. Anyone who has seen There Will be Blood knows that Greenwood has this strange way of making off tempo music work perfectly in a scene.

 

The Master is a phenomenal work of artistic fiction that I think is destined to become a classic that’s studied for years to come. It is packed with controversial thematic material that is bound to spark heated discussion. It’s intense, expertly made, and at the risk of being corny, proves that Paul Thomas Anderson is a master at his craft.