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Magnolia 1999 |
Review by Jonathan Cornwell |
Directed by Paul Thomas Anderson
R, 185 min. (strong language, drug use, sexuality, violence) |
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Starring: Jason Robards, Philip Baker Hall, Tom Cruise, John C. Reilly, Melora Walters, Julianne Moore, William H. Macy, Philip Seymour Hoffman, Jeremy Blackman, Melinda Dillon
Producer: Joanne Sellar
Screenplay: Paul Thomas Anderson
Cinematography: Robert Elswit
Distributor: New Line Cinema
Released: 12.17.99 (Limited), 1.07.00 (Wide) |
Rating:
 (out of ) |
Paul Thomas Anderson, who also directed Boogie Nights, has seamed together a story of over 10 characters and their
indirect or direct relationships with each other, all in an ambitious three-hour epic that is a masterpiece at
work. Its powerful, strong presentation of tangled lives in turmoil, with the message of hope through forgiveness, comes
across to the audience effectively. Only its intensely dark tone keeps Magnolia from being the year's best film. But what is
evident here is the successful meshing of top-notch acting with masterful directing - a combination rarely seen in most of
today's films.
The story encompasses several stories that are indirectly related to each other, but they all have a common theme - one of
physical or emotional turmoil and its affects on the people around them. One story deals with a television producer,
Earl Partridge (Jason Robards), who is on his death bed. His final wish is to see his estranged son, Frank Mackey (Tom Cruise),
the founder of the "Seduce and Destroy" lifestyle, which teaches men to use women for sexual purposes only. Frank hates
his father and wants no part of his life. Earl's second wife, Linda (Julianne Moore), is trying to cope with losing her husband
and her own regrets over cheating on him. Earl's nurse, Phil Parma (Philip Seymour Hoffman), seeks to help Earl find Frank
and reunite them. In another story, Jimmy Gator (Philip Baker Hall), is the host of one of Earl's biggest shows, and is also
fighting cancer secretly without his staff knowing, while trying to reconcile with his daughter, Claudia (Melora Walters). Claudia
is comforted with a new relationship with a police officer, Jim Kurring (John C. Reilly). The show's champion, a kid named Stanley Spector (Jeremy Blackman), is
fighting with his own identity from his overbearing father. Finally, the show's past champion, Donnie Smith (William H. Macy), is
coping with trying to lead a successful life outside the shadow of his past success on the show.
Each of the characters in this film are tormented in one way or another - either with past mistakes or current problems or
grudges that eat away at their personas. Reconcilation can only be found through forgiveness and a willingness to move past
previous mistakes. Watching each character come to the realization of this is the heart of the film, and in which Paul Thomas
Anderson's skill comes into play.
The impact of the film is greatest during the last 30 minutes when one of the most unexpected and confusing sequences in
recent film history occurs - for some it will make the film even more effective, but for others it may ruin an otherwise masterful
character study of the human heart. For me, it is a strange, yet somehow appropriate metaphor for what was taking place
in the characters' lives at the time.
Magnolia is three hours long, and at times, can drag. But even during the slower parts, the film's message is clear - it never
deviates from its purpose, which is critically important. I'm convinced that this film would not have been as effective if it was
only two hours in length. The entire time is needed to carefully construct each character and make their stories an essential
part of the larger picture that is Magnolia.
It would take too much time to describe each acting performance in this film, however, it's fairly safe to say that there has not
been a better or more effective cast than this one since the aforementioned Boogie Nights. Not surprisingly, many of the same
actors from that film are back for this one, and they exceed themselves on every level. Tom Cruise's performance in
particular is probably the best of his career. He is frighteningly real as the womanizing charismatic leader of a cult he has
formed. His own struggle to rid himself of his absent father is something he cannot escape, and is rivetingly culminated in his
final meeting with him.
Magnolia is a film that will be debated for its merits and especially its controversial ending, but there's no denying that
Anderson has crafted one of the most thought-provoking films in recent memory. And whether you love or hate it, it's
visual style and terrific performances will stay with you long after you've seen the film. Finally, for those who understand what
Anderson is trying to accomplish will be stunned at the level of filmmaking that has been achieved here. Magnolia only
adds to the already strong number of top-notch films in '99.
© 2000 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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