Directed by:
Paul Thomas AndersonScreenplay:
Paul Thomas AndersonCinematography:
Robert ElswitCast:
Julianne Moore, William H. Macy, John C. Reilly, Tom Cruise, Philip Baker Hall, Philip Seymour Hoffman, Jason Robards, Alfred Molina, Melora Walters (more)VOD (3)
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Paul Thomas Anderson's acclaimed ensemble drama starring, among many others, Julianne Moore, Phillip Seymour Hoffman and Tom Cruise. The lives of various inhabitants of Los Angeles and San Fernando valley intersect when dying television producer Earl Partridge (Jason Robards) seeks a reconciliation with his womanising son, Frank T.J. Mackey (Cruise). Meanwhile, game show host Jimmy Gator (Philip Baker Hall) - also dying of cancer - tries to reconcile with his coke addict daughter Claudia, who embarks on a relationship with cop Jim Kurring (John C. Reilly). Jimmy's last television appearance goes awry when child genius contestant Stanley Spector (Jeremy Blackman) - who is bullied by his father, Rick (Michael Bowen) - refuses to participate, while Donnie Smith (William H. Macy), a former contestant on the show in the 1960s, declares his love to barman Brad (Craig Kvinsland). (Warner Bros. Home Entertainment)
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Reviews (10)
It's a long film that stands on the performances, which are basically without exception excellent. Still, I couldn't get into the film and I don't see anything in it that was all that great. Maybe someday, upon a second watch, but I doubt it. Paul Thomas Anderson is not a director I would seek out. His talent can't be diminished, though.
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Anderson has confirmed his reputation as the most talented director of the young generation and, as with Boogie Nights, has made a three-hour spectacle that flows by like water. The seemingly disparate patchwork of different human destinies would have crumbled under the hands of another director, but under Anderson's baton it feels extremely cohesive and the viewer doesn't feel lost in the plot. Plus, Anderson managed to make Cruise look a proper actor, which is remarkable. Cruise's portrayal of the successful hyper-macho is magnificent and rightfully awarded an Oscar nomination. The cathartic ending is unforgettable. Long live the frogs.
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First and foremost, this film is not as complicated and difficult as it may seem at first glance. But it does have something to it and definitely does not lack originality, inventiveness, many unforgettable scenes and situations, and, last but not least, great performances by almost all of the main actors.
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If I were to review Magnolia objectively, I wouldn't be able to give it a rating lower than the highest one. Fortunately, I can evaluate it purely based on my own opinion, and despite Paul Thomas Anderson's flawless direction, I couldn't help but feel that three hours is too long and somewhat unnecessary. Of course, all the storylines are interconnected, and no individual characters could have been removed, but the whole game show, the host, and the genius young man all felt terribly boring to me, and I was looking forward to the story switching to someone else, which unfortunately applies to former contestant William H. Macy as well. On the other hand, Tom Cruise, Philip Seymour Hoffman, and John C. Reilly are amazing, and whenever any of them had the opportunity to showcase their acting skills, I was consistently moved.
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Nine instruments that each initially play their own melodies. Nine rays that come down... And a camera that seems to wander aimlessly through the stories of different people, listening and watching here and there... And then suddenly the splinters of melodies and lights begin to resonate, destinies come together, intertwine, stories begin to take shape. Guilt, punishment, forgiveness on the threshold of death. It's amazing how sensitively Anderson managed to capture the nine great catharses of his life, how he managed to escalate Magnolia from the vulgar and fleeting cacophony of the introduction until the twist, when all the characters are connected by singing the song Wise Up. Three hours of an extraordinarily personal and strange story, which already demonstrates its principle in the prologue – some things are simply not a coincidence. Magnolia's meaning is not only in passive viewing - the viewer is encouraged to look for a purpose that is well hidden (see, for example, the rain of frogs). The amazing acting performances work as a magnet, the highlight of which for me is the incomprehensibly strong Cruise in the role of Jack, aka Frank. I never thought he could act so emotionally. In addition, the Czech dubbing was excellent... The only blotch on the beauty of the film remains the fact that it is sometimes too stretched and marked by dead spots. Yet in the midst of a torrent of unreal, it's like that rain of frogs. It just happens!
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Gallery (29)
Photo © 2000 New Line Cinema
![Magnolia - Lobby Cards](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/158/740/158740562_7a16f5.jpg)
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