Along with the Coen Brothers, Martin Scorsese and possibly David Fincher, Paul Thomas Anderson is, in my opinion, amongst the most prolific directors in modern American film. I am a huge admirer of his work and his films “There Will Be Blood” and “Punch-Drunk Love” are some of my personal favorites. I finally got the opportunity to watch Anderson’s three hour epic “Magnolia” this past week and I must say my feelings are quite mixed.
“Magnolia” is, without a doubt, one of the most ambitious films I have ever seen. The movie tackles the multiple narrative trajectories of several different characters and attempts to link them all with a unifying thematic thread. There are some great performances from actors John C. Reilly, Phillip Seymour Hoffman, and a practically show-stealing Tom Cruise. However, the film’s wide scope creates an exhausting, sometimes compelling, often frustrating piece of cinema.
The film never makes me doubt Anderson’s prowess as a filmmaker. The man is a natural and the film’s opening ten minutes are an absolute marvel. All too often though I couldn’t shake the feeling that he bit off more than he could chew. There are too many characters, too many ups, too many downs and one too many moments of climatic emotional release. By the time the film reached it’s true climax, I literally felt exhausted and couldn’t really emote for these characters anymore than I already had.
Anderson’s film might be the logical conclusion of the 90s fractured narrative made famous by director Quentin Tarantino. While I find that Anderson’s latest films completely blow Tarantino’s recent efforts out of the water, it seems undeniable that in the 90s, Tarantino truly was the master of this storytelling technique. Still, in the language of cinema, Anderson is fluent. Consider “Magnolia” the man perfecting his grammar.
The only romantic comedy I’ve ever loved. Just a marvel on every level.
I couldn’t think of a better 100th entry to my film journal than Paul Thomas Anderson’s “Boogie Nights.” Set in the San Fernando Valley (my hometown) and directed by a Valley native, “Boogie Nights” is one of the best films of the 1990s. A stellar cast, amazing cinematography and an unconventional subject matter all make this film stand out, but it’s really Anderson’s remarkable eye for the little details that floored me. He tells volumes about his characters in the subtle moments his free-flowing camera choose to focus on. With one more film left for me to see in his filmography, I think it’s safe to say that Anderson may rival only Terrence Malick when it comes to my favorite contemporary American filmmaker.
I loved this movie. I loved the performances, the story, the dialogue, the design, the score, etc. P.T. Anderson has never made a bad a film, in fact, he only makes great ones. All hail Paul Thomas Anderson.
Kubrick. Malick. Anderson.
My Holy Trinity.
The word masterpiece can get thrown around quite a lot the world of hyperbolic internet writing, but I can say without any reservation that “There Will Be Blood” is, in fact, a masterpiece. With this film, Paul Thomas Anderson cemented his position as a master writer/director who continues to inspire awe with each project he tackles. Read this and this, then watch this.
There are few filmmakers who have never made a bad film and Paul Thomas Anderson is one of them. His latest release looks at the troubled soul of World War II veteran Freddie Quell and his mesmerizing relationship with Lancaster Dodd, a character based on Scientology founder L. Ron Hubbard.
Much has been made of the film’s Scientology connections, but that is missing point of the film. Played with haunting beauty by Joaquin Phoenix, Quell is the real centerpiece of this film. There are moments that shot straight into my bones and troubled my soul, but I was at a loss of words to describe the how or why.
Photographed in beautiful 70mm film, “The Master” leaves you with a feeling not unlike the complex relationship between Dodd and Quell. It’s powerful, long-lasting and impossible to forget, but if you try to define it you’ll be left standing with your mouth agape, merely in awe of what you’ve beholden. This is it the best film of 2012 and I need to see it again.
