Magnolia (1999)
Human connection, connected through randomness.
Presentation:
Paul Thomas Anderson solidifies his cinematic prowess with an impressive film spanning 6+ people’s stories rhythmically interconnected. With so many characters, you might expect each arc to suffer as a result of the focus spread thin, but PTA does it in such a fluid way that they all feel related. The screenplay is on par with writing from Aaron Sorkin, and only possible because Anderson wrote and directed the film. The first half is paced and edited so compellingly, you’ll think it’s one of the best films of all time. Then for the second half it slows down and turns into a melodrama with a few too many tears. It seems like it is gunning for the moody sensibilities of Sam Mendes’ American Beauty, but does in fact lose out because of the overarching focus. The cinematography again uses floaty handheld camera movement with anamorphic film. The attention to each arc is properly allocated and I found myself caring about the entire cast. The soundtrack is masterfully utilized creating rising tension that links each story together.
Conclusion:
After grasping a firm hold on our attention, Anderson doesn’t do much with it. The message of the story is existential and one with gravitas, but it is handled with gloves designed for entertainment. I think the film overreaches as an art house mood piece, but not because it’s not good or strong enough. Make no mistake, the script and writing demonstrate meticulous detail and intelligence, but ambiguity like this should be reserved for more abstract films with a singularly focused arc. With so many stories, perhaps a clear uniting message would have made the resolution less flat, not that it wasn’t gratifying. Magnolia has the destination of a masterpiece, it just arrives at an unexpected port.
Recommendations
Boomer makes a political thriller.