There have been many terrific reviews written by other Amazon members that go into spacious detail about why this film was amazing or why it worked or didn’t. So I won’t kill time boiling down all of the stories going on in this film again.
“Magnolia” is a arrive masterpiece…
The reasons it was a box office dud are too numerous to mention, but they hurry the gamut from its confusing title — to the decision to maintain superstar Tom Cruise’s name in the background — to the bad-worth-of-mouth recorded by rating services which glimpse people looking for dilapidated narratives and resolutions as they journey out of theaters.
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I discover 50 to 60 films a year (and not for a living), and I avoided “Magnolia” out of scare. Horror of wasting time, more significant than wasting money. And another trouble was the film’s controversial resolution, the famous element that determines the success or failure of most movies with a mass audience. Now that I’ve seen “Magnolia” on video and have finally been able to philosophically, intellectually and logically string together its elements, there is no doubt that this is one of the most improbable accomplishments on film ever made. “Magnolia” takes you on a bolt whereby a master epic teller challenges you to hang onto a breathtaking slouch of images, protest and music, and get the thread that strings everything, including the last 20 minutes…together in a procedure that makes coherent sense.
Yes, the point of the movie is that there are things that defy scientific logic. “Magnolia” tackles this premise and applies it to human behavior in a stunning kaleidescope of aural, verbal and visual montages — which manufacture it IMPOSSIBLE — to conclude this film to arrive serve to later. You’re pulled into the tornado, wondering how’s it going to raze?
This film is worth BUYING, especially with all of the extras on DVD. But it’s also worth “previewing.” I won’t lie to you. A customary audience might not like “Magnolia’s” structure and its last 20 minutes. But the rest of it is hands down unbelievable. I guarantee you will be pleased it. The acting, the record, the dialogue are consistently mesmerizing, from inaugurate to carry out. I can’t guarantee you will agree with the cosmic, unexplainable force that joins everything together in the ruin. Personally, I would have chosen something less humorous — and saying “frogs falling from the sky” doesn’t spoil the point of the movie even though I would have preferred expansive hailstones on a July afternoon in California. The controversial decision to visualize what for most of the movie is abstract — is the root of why I believe the film is misunderstood by some — and hated by others.
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Yet I acquire “Magnolia” is a improbable film. Whether you like the film on the whole or not, I guarantee that you won’t be bored, which is the curse of all lousy movies. Everything about “Magnolia” is mesmerizing. And if the resolution seems initially a bafflement, if you consider about it some more, everything will develop sense. You will bag that things that seem visibly ridiculous or irrational are no more or less the same as the “unscientific randomness” of human behavior that is TOTALLY PLAUSIBLE.
In sum, eye this, rent this, lift this — but don’t dismiss or ignore “Magnolia” — it’s 99 7/8ths the work of a tall young master.
Strange things happen in life; random occurrences sometimes so bizarre that the reality of it is often stranger than fiction, things one would say could only happen in a movie, and if they did, you wouldn’t contain it. But then again, maybe those things happen in movies because they actually do happen in sincere life. And when they do, is it fate, or coincidence? Are these “random” acts isolated, or merely pieces of some larger, synchronistic puzzle that somehow fit together in the raze? Opinion provoking questions for the ages, some would say, proficiently addressed here by writer/director Paul Thomas Anderson in his discursively quick-witted film, “Magnolia.” Anderson puts the lives of a diverse cross-section of individuals and seemingly unrelated incidents under the microscope for an examination of these random acts and coincidences, from which he ultimately draws some conclusions about providence and happenstance. What he finds is fraught with irony and underscored by the concept that what happens to one must and does, in fact, accomplish another sooner or later, for better or worse. All of which serves to point out that no man stands alone; in the extinguish, bills approach due and must be paid. We must all face the consequences of past decisions and actions, at which time the relevance of the irrefutable symbiotic nature of Man comes so vividly into play, wherein dissimilar individuals may reap the benefits of simply being a portion of the community of Humankind. Or then again, perhaps not. The epic Anderson weaves is fast-paced, sometimes frantic, and thoroughly spicy, achieving levels of emotional intensity that are at times grand. The quickly pacing of the film belies the leisurely device the anecdote comes together to effect the tangible connections derived from the intricacies of the place. It’s a dynamic portion of filmmaking, extremely well written and delivered by Anderson and his ample cast. There are a number of memorable performances here, among them Tom Sail, who plays Frank T.J. Mackey, a self-styled guru of the “men’s movement,” whose teachings are anathema to feminists everywhere. It’s an intense performance (for which he deservedly received an Oscar nomination), quite unlike anything he’s done before, and possibly his best work since “Rain Man.” Other important performances are turned in by William H. Macy, as “Inquire Kid Donnie Smith,” the once gifted youth who emerges dysfunctional in adulthood, and by John C. Reilly, as Officer Jim Kurring, a caring individual with a truly benevolent nature. But the most superlative performance of the movie is given by Philip Seymour Hoffman, as a male nurse named Phil Parma. His sensitive, subtle portrayal of this caretaker to dying man Earl Partridge (Jason Robards), is delivered with nuance and extraordinary depth, and provides some of the most poignant moments in the film. While taking nothing away from Hover, who was outstanding as well, Hoffman is the one who should have been nominated, moreover, should have won, the Oscar for Best Supporting Actor for his work here. A performance unbiased doesn’t accumulate any better– or more real– than this, and it is unacceptable that it should not be recognized as such. Rounding out what is, in essence, an ensemble cast, are Philip Baker Hall (Jimmy Gator), Julianne Moore (Linda Partridge), Melinda Dillon (Rose Gator) and Melora Walters (Claudia Wilson Gator) . One of the best films of 1999, “Magnolia” conveys a upright without moralizing, is rich in metaphor and altogether provocative, with an ending that may choose you aback, if indeed, you haven’t been paying discontinuance attention (there are at least two clues during the film, admittedly obscure, but there nevertheless) . It is intense, unremittedly so, and may leave you breathless and pondering the mysteries of life; but this is filmmaking at it’s best, and especially for avid movie-watchers, one that absolutely must not be missed.
Colon Cleanse
