Review: Magnolia (1999) · 10:16pm Nov 11th, 2015
Paul Thomas Anderson's third feature marked the peak of his increasingly complex ensemble dramas, marking the exceptional maturation and expansion of the stylistic and storytelling tropes he first properly explored in Boogie Nights.
Here, Anderson turns his camera onto the streets of Los Angeles, and uses a complex yet direct network of interconnecting plot-lines and story arcs to spin a fascinating and unerringly human story about how our actions affect one another, often in increasingly unbelievable ways, and, in the words of the observant narrator that book ends the film, "We might be through with the past, but the past ain't through with us."
Anderson's camera work is simply wondrous. Mixing beautifully executed and dynamic tracking shots with complex steadicam and hand held camera work, Anderson keeps the 3 hour drama moving at a whirlwind pace befitting the story. Jumping from plot line to plot line and from character to character seamlessly, Anderson manages to keep the multitude of plot threads going without confusing the audience. On top of that, each subplot is given it's own room to breath, and feel like a fully fleshed out story in it's own right. Spinning and winding through Los Angeles, the individual plot lines all share similar themes and ideas, yet speak of them in entirely different ways.
The acting is, as always for Anderson's films, absolutely astounding. From John C. Reilly's optimistic police officer Jim Kurring, to Julianne Moore's high strung Linda Partridge, neurotic trophy wife to Jason Robards' dying and withered media mogul Earl Partridge to Tom Cruise's absolute tour-de-force performance as ultra misogynist/self help guru Frank T.J. Mackey to Philip Seymour Hoffman's sweet natured and long suffering hospice nurse Phil Parma to William H. Macy's repressed homosexual former child quiz show star Donnie Smith to Philip Baker Hall's game show host dying of cancer Jimmy Gator; the entire cast is in top form and organically interacting and mixing together like a complex symphony of characters and interactions. I don't think a single actor slips up, even in the most minor of roles.
Anderson's long time collaborator Robert Elswit once more does a marvelous job. Opting for a subdued, naturalistic color palette, Elswit gives the film a fittingly subdued aura, which helps keep the film grounded and real.
Aimee Mann's songs, which heavily inspired Anderson's screenplay, are all integrated into the film beautifully, along with songs by Supertramp and Gabrielle. Anderson makes absolutely sure that the lyrics fit the broader story, and every song feels perfect for that scene.
So yes, I enjoyed this film quite a bit. A sprawling, dazzlingly complex yet deeply human film, Anderson proved he could helm an epic with assurance and grace. Of course, his subsequent films would retreat inward, becoming smaller and more intimate in their scope, but Anderson never lost that singular artistic vision that was shown so well here.
5 out of 5 stars.
It's been a while since I've seen it last, but I do remember I enjoyed it.