MAGNOLIA **** (out of four stars) A review by Jamey Hughton
Starring-Jason Robards, Julianne Moore, Tom Cruise, Philip Baker Hall, John C. Reilly, Philip Seymour Hoffman, William H. Macy and Melora Walters Director-Paul Thomas Anderson Canadian Rating-14A Released by New Line Cinema - 01/00
MOVIE VIEWS by Jamey Hughton http://Welcome.to/MovieViews
Coincidence is a funny thing.
This is explained in the opening prologue of Paul Thomas Anderson's `Magnolia'. Our narrator (Ricky Jay) guides us through several unlikely scenarios of chance and coincidence that display, with great humor, how past relevance can intrude on the present. For instance: a man plummets off the side of a building in a suicide attempt, but is inflicted with a shotgun blast on his way to landing in netting that would have surely saved his life. The shotgun was fired by his mother from their apartment several floors below. With shotgun cocked, she was violently threatening her husband when the weapon accidentally fired and struck their son on his descent to the netting. But she insists that, to her knowledge, the gun was never loaded. Coincidentally, it was he - the suicide `victim' - had loaded the weapon a few weeks prior, hoping that it would end the feuding his parents had continued for years. `These strange things happen all the time,' the narrator concludes. P.T. Anderson has collected a photo album of lonely, troubled characters in an intersecting plot line that he uses to prove this thesis.
`Magnolia', a sprawling masterpiece of operatic grandeur, is an ambitious film in which the director's inventive jest never seems to stop flowing. Anderson leads us through several intertwining stories in Los Angeles, and each is fascinating for separate reasons. There is the story of cancer-stricken television producer Earl Partridge (Jason Robards), who lies on his deathbed, attended to by his unstable young wife (Julianne Moore) and a caring nurse (Philip Seymour Hoffman). Earl desperately wants to get in touch with his distant son, who, we soon realize, is self-help sex guru Frank TJ Mackey (Tom Cruise). Frank has made himself an icon among males everywhere with his `Search and Destroy' program and his energized public seminars, in which he raucously lectures the audience on how to best invade female territory. There's the story of game show legend Jimmy Gator (Philip Baker Hall), who has hosted the beloved quiz show `What Do Kids Know?' for 30-odd years. Jimmy has also received the news that he is dying from cancer, and, in light of the fact his strength is deteriorating faster than anticipated, he tries to reunite with his daughter Claudia (Melora Walters). Meanwhile, current `What Do Kids Know?' contestant Stanley Spector (Jeremy Blackman) begins to notice his rigid father (Michael Bowen) sees him as merely a walking encyclopedia for cash income. And former child genius Donnie Smith (William H. Macy) ponders the misfortune of his job at an electronics store, and looks back at his brief and turbulent 15-minutes of fame.
Finally, there is the story of Jim Kurring (John C. Reilly), a mild-mannered police officer looking for love at age 32. In more ways than one, Anderson uses the Kurring character as the backbone of the story. He is kind and thoughtful where other characters are rough and violent, adding some emotional stability to the mix. As an ensemble piece, `Magnolia' is superbly crafted. The dignified and accomplished cast of actors balance their screen time miraculously, and each is given the spotlight at some pivotal time to properly voice their character's emotional dilemma. Everyone (or almost everyone) is successful in identifying with their character during these critical moments. Hall has a positively stunning, heart-wrenching breakdown on the game show, Robards is chillingly effective as he croaks out his untold confessions, and Walters is phenomenal throughout. However, the brunt of the recognition deserves to be bestowed upon Mr. Tom Cruise, who delivers a dazzling, high-voltage performance as Frank Mackey - the kinetic ball of vivacious energy at the center of Anderson's amazing concoction.
The cast is astonishing - but you knew that already. The outrageous kick behind `Magnolia' is writer-director Paul Thomas Anderson, a brilliant filmmaker who shows infinite ambition to plumb the emotional depths of this work in methods both extravagant and unique. Anderson received endless praise for `Boogie Nights', his detailed account of pornographic filmmaking in the 1970's. In `Magnolia', the director shows a keen and thoughtful eye for pacing. At just over 3-hours in length, the film could have been a tedious and pretentious experience, but it transforms into a moving, thrilling and audaciously funny spectacle under Anderson's wing. What David O. Russell did earlier this year with `Three Kings', P.T. Anderson achieves again here. By the time a totally outrageous, completely unexpected finale rolls around, you must acknowledge the fact that Paul Thomas Anderson is a bold and ambitious filmmaker, and `Magnolia' is a one-of-a-kind experience.
Another highlight is the soundtrack. Many scenes are accompanied by the music of Aimee Mann, including one expertly integrated segment in which the characters sing the lyrics of `Wise Up' in episodic fashion. The musical score, by Jon Brion, blends seamlessly into the fast-moving action in the 2nd act. But this is not necessarily a `viewer-friendly' movie. I can tell you right now, many audience members will be utterly confounded by the director's style - particularly the Biblical climax. Those who get involved in the film, though, will realize the treasure P.T. Anderson has delivered. `Magnolia' is a profound and effective motion picture, and a monumental achievement in film.
(C) 2000, Jamey Hughton
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