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| 'Magnolia' |
by Tom Snyder
Correspondent |
Webster's Dictionary defines the word magnolia as "a shrub or tree bearing large, fragrant flowers." Director Paul Thomas Anderson's latest cinematic opus, "Magnolia," is definitely a large, long and extremely fragrant flower of a film. It's a motion picture with grand goals and unbelievable ambition, and in Anderson's capable hands, it comes across beautifully.
Paul Thomas Anderson's films are never a bore to watch, despite their bloated running times. However, Anderson, who first achieved critical acclaim back in 1997 with "Boogie Nights," is much more than a director of cool camera work and flashy images. Anderson's true talent lies in his ability to write crisp, often shocking lines of dialogue and his uncanny ability to cast and draw out breathtaking performances from his actors. "Magnolia," without a doubt, represents the greatest ensemble acting performance I have ever witnessed. In all honesty, the entire cast should be marched up onto the Academy's stage this March and given one giant Oscar.
After a humorous introduction explaining the phenomenon of chance and coincidence, "Magnolia" slowly introduces the audience to interesting character after character, played by such veterans as Jason Robards and Tom Cruise, and up-and-comers like Philip Seymour Hoffman and Jeremy Blackman. There are the two dying fathers (one a game-show host, the other a bed-ridden millionaire); the two whiz/quiz kids (one driven to succeed by his overbearing father, the other a 60s burnout searching for love); the son and daughter hiding from their pasts; two grief-stricken wives; the nurse with unheard of determination and compassion; and the God-loving, straight-arrow cop who comforts himself with lonesome monologues in his squad car. Their stories are tragic, depressing, and at times, laugh-out-loud enjoyable.
Connecting the strands of this confusing tale of tears and humor -- which transpires during one rainy day in the San Fernando Valley -- is a brilliant creation of symbolism by Anderson: a television quiz show pitting children against adults.
Midway through "Magnolia," as the relationships between parents and children becomes nearly unbearable, the metaphor becomes clear and the power of Anderson's message, a thing of beauty. Why must we compete and measure up for love? Why can't the truth lie and be forgiven? Who are we to forgive? Who are we to let the sinners suffer? We all bear crosses, make mistakes, and live lives of silent regrets. Will the pain ever end? Will children ever escape the shadows that their parents cast?
As Aimee Mann -- whose songs score most of the film -- sings: "It's not going to stop till you wise up." William H. Macy's character confesses: "I have so much love to give, but I don't know where to put it."
There is so much great material in "Magnolia" that it is nearly an overload of information and emotion. I have to wonder if the film may have been more enjoyable or understandable had one of the numerous story lines been cut, but I see Anderson's dilemma: which to cut?
Sure, the film basically follows the torment of two families and the omission of one family story would have cut the three hour running time in half, but at a tremendous cost to "Magnolia's" overall effect. I can't praise Anderson enough for having the confidence to leave it all in, to not compromise his vision and ultimately pay the price he is sure to pay at the box office. The decision makes complete artistic sense. Which is more important: box office numbers or overall effect? As long as he can continue to receive funding for such films, he should keep churning them out.
With the performance of a lifetime by Tom Cruise (his "Seduce and Destroy" motivational speaker electrifies the screen like no performance I've seen), and brilliant direction of an even more brilliant script by Paul Thomas Anderson, "Magnolia" is a film to treasure. For three hours it is bold, bizarre, never boring, and with its final image, will make you smile. |
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