A loving appreciation of Philip Seymour Hoffman
Gentleman. Genius. Master.
According to the Matrix Movie Bible www.imdb.com Philip Seymour Hoffman is credited with 63 appearances on film but even when discounting the 12 credits for short films, television films or voice overs, that still leaves us as fans with over half a century of cinematic portrayals with which to savour and enjoy time and time again. From presumably a golf film I haven’t seen in 1991 through to the Hunger Games franchise in 2015 that I refuse, on principal, to see, Seymour Hoffman wasn’t always front and centre or a stellar marquee name, arguably so for well over a decade of his cinematic career but firstly he was: you just didn’t know it at the time and secondly when the film truly was a showcase for his star marquee name, he shone as radiantly as the sun.
I first became acquainted with the acting talents of a human being that his friends always, always called “Phil”, in Paul Thomas Anderson’s cinematic debut film Sydney AKA Hard Eight in 1996 that started my love affair for both director and actor that continues to blossom to this very day. They would collaborate a further four times and even long after Seymour Hoffman’s sad death six years ago, director Anderson would team up with Hoffman’s son Cooper on his 2021 cinematic creation Licorice Pizza. Obviously Philip Seymour Hoffman shot to stratospheric prominence with his Oscar winning portrayal of Truman Capote in the Bennett Miller directed film in 2005 but arguably his place as a “leading man” was cemented for all time with his brilliant portrayals of the frailty of the human condition in the typically bizarrely surreal creation of Charlie Kaufman in 2008’s Synecdoche, New York before re-teaming again with Paul Thomas Anderson and his scathing Scientology reflected masterpiece The Master in 2012.
But please don’t discount the cameo and supporting roles interspersed among the headline acts, the nervous nerdy tics and laughter of a porn cameraman, the incredible empathy of an end of life nurse or the furious frustrated anger of a business owner (all again under the direction of Anderson), the befuddlement and embarrassed laugher only the Coen Brothers could create from such a cameo appearance or even the bad guy character in the third instalment of the Mission: Impossible series under the guidance of JJ Abrams. Seymour Hoffman also collaborated again with Bennett Miller (Moneyball) as well as with Anthony Minghella (The Talented Mr Ripley and Cold Mountain), Cameron Crowe (Almost Famous), Brett Ratner (Red Dragon), Spike Lee (25th Hour), and Mike Nichols (Charlie Wilson’s War) amongst many, many more.
What follows are eight film reviews that vary in length, quality, reasons for writing it in the first place and with varying highlights as to the characters portrayed by Philip Seymour Hoffman. All were written around the years of 2013 and 2014 and whilst some are my original forays into film appreciation, I’ve arguably and hopefully captured two of his three most iconic cinematic portrayals for the ages before bringing us up to date with his son’s debut performance in Licorice Pizza last year.
At a rough and ready count I’ve also seen 17 of the 43 credited films I’ve not already written about here and own all of these on either DVD or Blu-Ray so I have absolutely no reason whatsoever not to compile a “Part 2” on the cinematic life of the genius that was Philip Seymour Hoffman. Perhaps I’ll commence a series of articles on the individual films themselves or compile three articles by decade, from the 1990's, through the 2000’s before the final seven films between 2010 and 2015?
All that’s for the future. I rather miss the cinematic reassurance of seeing a grumpy and frazzled Philip Seymour Hoffman! I also miss the humanity he infused into so many of his characters. So here’s eight of the best as well as an incredible debut from his son last year, full of love and appreciation and absent, as always, spoilers.
I hope you enjoy.
“Sydney” AKA “Hard Eight” (1996)
“Never ignore a man’s courtesy”.
Sydney (also known as Hard Eight) was Paul Thomas Anderson’s first cinematic release, and a criminally (pun intended) underrated one at that. His first collaboration with Director of Photography Robert Elswit sees a stellar, marquee cast producing a wonderful drama that if you haven’t already seen, please don’t read any further reviews (except this wonderful one here), no trailers and watch this 102 minute gem without any further background information as you’ll be in for a cinematic treat. The marquee stars produce incredible performances:
“Sydney” (Philip Baker Hall) Just an incredible performance from the consummate actor of his generation in his first of many collaborations with Director PT Anderson. The entire film is seen very much through his eyes, every interaction, every twist and every turn. A sublime performance.
“Clementine” (Gwyneth Paltrow) The smallest of the three marquee roles but an excellent portrayal of the bright lights of the city leaving this lucky little lady behind. Waitress, part time prostitute and acquaintance of Sydney’s, her love affair with John drives the central narrative of the film.
“John” (John C Reilly) Down and out and down on his luck who is approached by Sydney with an intriguing proposition. The shared car journey sets up the premise of the film brilliantly. A Master with a willing pupil. The sage old head trying to control a headstrong young man. A brilliant performance from Reilly.
A small overall cast, but important supporting roles fall to Samuel L Jackson as “Jimmy” and two actors that will feature heavily in future PT Anderson films, Philip Seymour Hoffman as “Young Craps Player” and Melora Walters as “Jimmy’s Girl”. Set in Reno amongst the various nightclubs and open all hours gambling venues, this gem will surely surprise and please you as the narrative doesn’t hint at the unexpected twists to come and when they do are genuinely shocking and befit this brilliant debut feature from my favourite individual Director of cinematic films. Just behind the Coen Brothers, but now ahead of Quentin Tarantino. Not a bad place to be and how I’d love to be the fifth wheel in that cinematic conversation!
“Boogie Nights” (1997)
“This is a giant cock!”.
Set between 1977 and the early 1980’s, this stunning film follows “Dirk Diggler” and his rather large appendage making it, erm, big in the porn industry! Mark Wahlberg, an underrated actor of his generation plays Dirk and takes centre stage alongside a stunning performance from cigar chomping Burt Reynolds as “Jack Horner”. In the opening scenes you are introduced to virtually every character, and very early on you detect their human frailties and the vacuous superficiality of their lives and the industry in which they work. Except one, the fresh faced, eager and motivated Dirk Diggler.
The early scenes really set the table for the movie, from Paul Thomas Anderson’s amazing swooping camera work and full screen shots really immersing you directly into the film. Together with the human frailties and broken characters, you get a sense of a brooding intensity building and building, until the eventual release (my sexual references here aren’t intentional!) at the end of Act Two.
There are so many characters and so many stand out performances aside from Wahlberg and Reynolds. Julianne Moore as hyper “Amber Waves” is astonishing, John C Reilly as “Reed Rothchild” crumbles before your eyes and Heather Graham plays “Rollergirl” to perfection. Don Cheadle as “Buck Swope” also stands out against a backdrop of great acting talent. Biased as I may be, but “Little Bill” is played by one of my all time favourite actors William H Macy. A small part, minimal dialogue, but played perfectly before he departs the scene on a very bloody New Years Eve!
The supporting cast continues with Luis Guzman (in his first PT Anderson film) as the bizarre and hyper “Maurice Rodriguez” and three returnees from Anderson’s first film also star in supporting roles with Melora Walters as “Jesse St Vincent”, Philip Baker Hall as “Floyd Gondolli” and Philip Seymour Hoffman stealing every scene as camp film assistant “Scotty J”. His performance particularly, amongst an all star cast, is truly brilliant. Fans of late 70’s and early 80’s music will love the soundtrack as there’s plenty to choose from. The closing credits start with ELO’s “Living Thing” which encapsulates this gem of a movie perfectly. As does the other stand out music choice — as a True Romance style shoot out ensues, we have Alfred Molina’s crazy “Rahad Jackson” shooting everything and everyone in sight, whilst Nena’s “99 Red Balloons” go by! Further musical gems are “Best of my Love” by The Emotions, “Sunny” by Boney M, “Afternoon Delight” by Starland Vocal Band and “Mama Told Me Not to Come” by Three Dog Night.
As with all PT Anderson films, the soundtrack alone is highly recommended.
The film that propelled Paul Thomas Anderson into the mainstream is a master class in cinema, drawing as it does unbelievable central performances that captivate the imagination and the heart. Written and directed by PT Anderson, this was originally based on a short film in 1988 by Anderson entitled “The Dirk Diggler Story” and is also very loosely based on the 1970’s porn star John Holmes, he of the rather large appendage!
Regular collaborators Dylan Tichenor (Editor) and Robert Elswit (Director of Photography) return and help Anderson create a strangely twisting tale of obscurity, fame, denial and redemption all wrapped within characters that on the surface aren’t likeable but as you immerse yourself in an overly long (155 minutes) film you warm to and root for. Too long? Maybe. But it’s a tale brilliantly told, wonderfully shot and brought to life by some of the most cherished character actors of our time.
“The Big Lebowski” (1998)
“His name is Lebowski? That’s your name Dude!”
My favourite Coen Brothers film and a film without equal. Fifteen years and going strong, vibrant as ever with every watch. Enjoy!
“You mind if I do a J?”
Following a tumbleweed through an open Los Angeles, “The Stranger” (Sam Elliott) narrates an opening monologue about “The Dude” (Jeff Bridges) and we’re immediately introduced to the world of Jeffrey Lebowski aka The Dude. A stoner and carefree attitude to match, he is mistaken for “The Big Lebowski” (David Huddleston) a multi millionaire with a life and attitude vastly differently to The Dude. A urinated on rug “they pee’d on the rug, Walter!” he demands compensation from the intended target. A stolen rug later, not to mention the offer of a blowjob from The Big Lebowski’s wife “Bunny” (Tara Reid) and The Dude is embroiled in a kidnap payoff that goes disastrously and hilariously wrong! This, the Coen Brother’s first big out and out comedy, is a romp and laugh out loud funny from beginning to end. Using their staple theme of a simple plan going horribly awry, this masterpiece of a film is subtly funny too with a host of rich characters and star turns in many cameo and supporting roles. But first, who is The Dude?
“The Dude” (Jeff Bridges) A stoner/hippy, The Dude is brilliantly brought to life by Jeff Bridges. The performance has everything and is so natural at times it’s almost as though Bridges is playing the part with no care for the camera whatsoever. It’s just so relaxed, natural and an ease of performance that is so captivating. And hilarious throughout. Named Jeffrey Lebowski, he always corrects anyone daring to call him by that name and early in the film he introduces himself to his Lebowski namesake by reiterating the immortal and iconic lines “I’m The Dude. So that’s what you call me. You know, that or, His Dudeness, or Duder, or El Duderino if you’re not into the whole brevity thing”. And always, despite the crazy ride we endure and indeed enjoy with him, “The Dude Abides!”
Always bowling, he is joined in a trio of chaos with best friends “Walter Sobchak” (John Goodman) and “Donny Kerabatsos” (Steve Buscemi). Walter is an angry and permanently on edge war veteran, with John Goodman’s amazing performance in it’s own surreal way, an equal to the role of The Dude. Goodman is incredible at times, a force of nature and anger, he is also subtle and often funny, though not intentionally!. During a game of bowling, an opponent refuses to accept he stepped over the bowling line, and Goodman, steaming from the ludicrous injustice of this pulls a gun with the immortal line “Mark it Zero! It’s a League game Smoke”. The interplay with Donny, a deliberately understated and quieter role for Steve Buscemi is excellent (“shut the fuck up Donny”), but the three characters together, riffing anecdotal tales and jibes are superb and are the core of the film.
In an all star supporting cast, David Huddleston is excellent as the other Jeffrey Lebowski with his daughter “Maude Lebowski” brilliantly played by Julianne Moore. Philip Seymour Hoffman also makes his bow in a Coen Brothers film for the first time as The Big Lebowski’s assistant “Brandt” and although a cameo, is hilarious in every scene. The painfully awkward moments shared between these three excellent actors as they deal with a missing toe, a missing body and of course the missing rug is priceless. The film is scattered with further bizarre and surreal supporting performances, notably “Jackie Treehorn” (Ben Gazzara) and a camp star turn as “Knox Harrington” from David Thewlis as friend and confidant to Maude Lebowski. His performance of over the top exuberance and surreal engagements with Maude sum up the film brilliantly. There are also important cameos for returnees to previous Coen Brothers films with Peter Stormare as “Karl Hungus” a nihilist with a penchant for marmosets and the brilliant John Turturro as “Jesus Quintana” who was given one of a host of classic screenplay lines with “Nobody fucks with the Jesus!”.
With two especially surreal, drug induced interludes between scenes, a terrific screenplay that is laced with quotable classics, subtle comedy that will still make you smile on repeated watching, this is the Coen Brothers at their very best. Carter Burwell again provides a minimal score, but it’s the soundtrack that stands out and there are a multitude to choose from, echoing The Dude’s preference for the late 60’s, early 70’s vibe. Bob Dylan’s “The Man in Me”, The Gypsy Kings version of “Hotel California” Kenny Rogers’ “Just Dropped in (To see what Condition my Condition was in)” and Mozart’s “Requiem in D Minor” complete an eclectic mix and a thoroughly recommended stand alone soundtrack album, all of which fit the film perfectly. There are many, many others.
Two hours with The Dude are a joy and funny as hell. As The Stranger narrates at the end, it’s good that we have someone like The Dude in the world. Amen to that. This is the main theme of the film and it could be argued this theme is heightened against his best friend Walter. With the film rooted approximately in 1991 (and the film starts with President George HW Bush declaring war against Iraq), Walter, with constant, if comedic references to Vietnam and his unresolved anger, we root for The Dude, his outlook on life and more pacifist tendencies. We see the film entirely through the eyes of The Dude and follow his every move and therein lies the juxtaposition the film espouses, of The Dude’s slacker, laid back and neutral take on life to his best friend’s explosive reactions.
Roger Deakins excellent cinematography deserved more recognition than it received and similarly the film as a whole, which is still largely seen as a cult classic and which did not feature at any of the main festival award shows. A film that has spawned a religion and yearly conventions in many worldwide cities, perhaps that is the film’s ultimate recommendation and reward.
“Magnolia” (1999)
“What am I doing? I’m quietly judging you”.
Seen on far too many occasions for me to admit. OK, the old joke is I watch this once a month just to keep my hand in, and there’s a little truth to the joke, but where to start with this modern classic? Vague and bizarre weather reports? CHECK. Raining frogs? CHECK. Bizarre, interwoven but seemingly unconnected historical events? CHECK. Tom Cruise acting his arse off? CHECK. Melora Walters providing an acting master class of immense proportions? CHECK. A beautiful yet haunting musical score from Jon Brion? CHECK. I could go on (Philip Seymour Hoffman is incredible) but I am exceedingly biased and simply blown away every time I watch this. However, in the fairness of balance(?) some have criticised this as way too melancholic, confusing, upsetting and a plodding over long drama. To those I retort, it is uplifting beyond measure and with a screenplay from Director Anderson that resonates through every character and central performances that astound me every time.
This is but the tip of a very deep iceberg, again covering relationships, human frailty, desperation, loneliness, despair, but intermingled with joy, redemption, recovery and the triumph of the human spirit. Whenever you’re settled into the film, a seemingly unconnected “event” is interwoven into the narrative to make you question the event and it’s relevance. Oh, and there’s 7/8 interweaving stories from rich, seemingly unconnected characters all taking place at the same time, in the same city, which slowly and deliberately come together to produce a sublime piece of cinema. The DVD “extras” has a feature length documentary on the making of this masterpiece which is as essential a watch as the film itself. I can’t possibly do this film justice, it truly is a masterpiece, and the starting point for my cinematic love for Paul Thomas Anderson.
Back to the film itself: You have Tom Cruise as never seen before and never better as Men’s Sexual Counsellor “Frank TJ Mackey”, Julianne Moore as guilt ridden, drug taking, cheating wife “Linda Partridge” to Jason Robards “Earl Partridge” (stand out performance), John C Reilly’s error prone but good hearted policeman “Jim Kurring”, Philip Baker Hall dominates the screen in every scene as “Jimmy Gator” and Philip Seymour Hoffman’s heart-breaking performance as male nurse “Phil Parma”. This truly is a stellar cast and a stellar film, with numerous more cameo performances from Luis Guzman, Alfred Molina, Michael Bowen and Melinda Dillon to name but a few.
Yet to be mentioned are “Quiz Kid Donnie Smith” (brilliantly portrayed by William H Macy), Melora Walters will break your heart as “Claudia” and Jeremy Blackman similarly as the precocious quiz kid, “Stanley Spector”.
The following short scene gets me every time, is the most bizarre and surreal in a very high calibre list of bizarre and surreal moments and is roughly 4 minutes of screen time from this 188 minute master class. It occurs towards the end of Act Two and it tells you everything and nothing and leads us onto the fantastic soundtrack accompanying this film:
As the strains of Aimee Mann’s brilliant “Wise Up” begins so too do every main character in the film, singing along in separate edited segments to the entirety of the song. Beginning with Claudia as first she announces “You’re so stupid” before snorting two lines of cocaine and singing along, the camera slowly panning in to a close up of her before slowly cutting to Jim, now also singing along, revealed by a slow pan around a bedroom door to reveal him sitting on the edge of his bed, the cross clearly illuminated on the wall behind him. Next is Jimmy Gator, sitting at home singing along as another slow pan closes in on him, followed by Donnie Smith, similar panning shot as before, this time, his large winner’s cheque clearly illuminated behind him as he sings along. Next is the stricken Earl Partridge and his nurse Phil Parma but here they are both singing along as the camera slowly pans past Phil and into a close up of Earl. Now moving outside for the first time and two similar shots of separate cars drenched in the pouring rain, and of firstly Linda Partridge singing along before a slow reveal shows Frank TJ Mackey doing likewise before a final shot of Stanley Spector brings both the song and this bizarre scene to a close.
Two interesting issues to note before we close, firstly Stanley’s panning shot is the first to move away from a character as all of the others have been zoom/pans into a character and secondly as the song ends as does the pouring rain, very abruptly to be replaced with yet another bizarre weather forecast “Rain Clearing, Breezy Overnight”.
Leaving aside spoilers and major plot points, this film is as near as cinematic perfection as you can get. The overall soundtrack itself to the film is minimal, but is saved, quite literally, by Aimee Mann’s haunting and beautiful “Save Me” over the closing credits and “Wise Up” as briefly described above. However, with various tracks interspersed within the film, the stand alone soundtrack to the film is highly recommended. Dominated by Aimee Mann with further tracks “One”, “Build that Wall”, “You Do” and “Nothing is Good Enough”, there are also gems from Supertramp “The Logical Song”, Gabrielle’s “Dreams” (hilariously used in the film) and some joyous operatic pieces such as “Habanera from Carmen” by Georges Bizet and “Also Sprach Zarathustra” by Richard Strauss.
Brilliantly and darkly funny, heart breaking, thought provoking or melancholic and dreary drama. Your take your chance, your choose your poison. Just watch out for the frogman in the tree, the guy on the roof and those pesky raining frogs! It really happened, you know! If you haven’t seen this film and are reading the characters as sex counsellor, male nurse, policeman and quiz kid’s and wondering what the hell is going on, well welcome to the club! And the good news is, it works. Perfectly. All of the disparate stories, events, cut-scenes and even the raining frogs, it’s a complete triumph of the will film.
“Punch Drunk Love” (2002)
“I want you to know that I wanted to kiss you just then”.
Paul Thomas Anderson’s fourth cinematic masterpiece is an underrated piece of pure joy. Here’s a dissection of the bizarre opening ten minutes that will tell you so little about the film you’ll simply have to watch it for yourself. With no opening credits whatsoever the film opens on a long shot of “Barry Egan” (Adam Sandler) clad in a blue suit sitting at an office desk in an empty, barely furnished office in an industrial estate. The long shot frames Barry in the corner of the bare room, with a distinctive partial blue nominal strip of paint breaking up the otherwise staid, neutral coloured wall. In the middle of a telephone call, Barry is pedantic about a coupon offer, frustrated and apathetic at the responses received he exits the office into a very early morning stillness.
Staring at the exit gate of the industrial estate, the camera pans away from Barry and continues to move, slowly swooping (a familiar pattern throughout the film) out of the gates and into a deserted, still and quiet road. It’s interesting to note both the pale blue “hue” that surrounds Barry and the complete lack of any sound as he approaches the exit gates until a passing car overturns unexpectedly and spectacularly, breaking the complete silence, as does a delivery van that swiftly drops off a piano at the kerbside and drives off.
Cutting back to Barry, now seated again and in the middle of another frustrating telephone call, this is quickly cut away from as Barry repeats his earlier leaving of the office, however this time a car pulls into the estate and he’s greeted by “Lena Leonard” (Emily Watson) with an odd request: “Is it ok if I leave my car with you?”. An awkward conversation ensues to which Barry accepts to help Lena and she leaves to go to work but not before the two share brief glances at each other. Barry appears stressed by either the conversation or the odd request (or both) and hides in the corner of his office, with the camera panning to him sneaking a look at the exit gates and the piano that is still sitting at the kerbside.
Again in complete silence, Barry approaches the piano, but with a swift change in camera to the opposite side of the road we see and hear a roaring truck approach, seemingly on a collision course with the piano. Back to the original camera angle, we see Barry cradling the piano and rushing back to the office. Playing some gentle, indistinct notes on the piano, barely audible, the silence returns somewhat before the crashing sound of the roller blinds introduce us to “Lance” (Luis Guzman) in yet another PT Anderson film. Cue further awkward conversations between Barry and Lance, with Barry backing away and out of the office as a multi coloured stream of effects fill the screen to end the opening ten minutes.
In addition to Adam Sandler, Emily Watson and the returning Luis Guzman, Philip Seymour Hoffman also returns to a PT Anderson film, this time as an owner of a bedding store in a flat out bizarrely brilliant role as “Dean Trumbell”. And Barry has seven nagging sisters! “Elizabeth” (Mary Lynn Rajskub), “Susan” (Lisa Spector), “Nicole” (Nicole Gerbard), “Gilda” (Mia Weinberg), “Anna” (Karen Hermelin), “Kathleen” (Julie Hermelin) and “Rhonda” (Hazel Mailloux). And he has five Brothers in Law, one called “Walter the Dentist” (Robert Smigel). Confused?!
Here’s the two stars of this wonderful film:
“Barry Egan” (Adam Sandler) Simply never better and a career defining performance. Desperate for love, escape and normalcy away from his hen pecking Sisters, Sandler plays borderline psychotic Egan in a brilliant portrayal. Nervous, twitchy and out of control, Sandler is brilliant and far funnier playing dead pan serious than anything in his “funny” roles. A sublime performance of nervous tension, chaotic mood swings and nuanced touches of real perfection.
“Lena Leonard” (Emily Watson) Smiling, flirtatious and eyes that shine and light up the screen. Desperate to secure a date with Barry despite his frailties and oddities. The smaller of the two headline roles, but Watson is superb throughout.
The greatest compliment I can pay this film is that it is a complete one off. A quirky love story with a bizarre central narrative surrounded in bizarre and surreal sub plots that will make you laugh hard, even at the most surreal of circumstances. The central love story is a delight and a joy, with characters that are eminently likeable despite their foibles. Plot spoilers prevent me from disclosing any further than simply stating there are so many humorous (some very darkly comedic) scenes that will make you smile, especially the “Gay Boy” interlude, the restaurant restroom and the most joyous of all scenes, the iconic silhouette kiss from the film posters. A common theme in the film separate from previous PT Anderson films seems to be of being busy, distracted, looking elsewhere, of life going on without you and you looking at it from the periphery. There are many segments depicting this, and of moments of silence broken, often in the most unexpected of ways.
Brilliantly captured by Paul Thomas Anderson and regular Director of Photography collaborator Robert Elswit, the real kudos here belongs to Jon Brion for his musical score. In keeping with the film, it’s quirky and full of strangely colliding odd sound effects (especially when Barry is alone) and joyously uplifting when together with Lena. One music track stands out “He Needs Me” by Shelley Duvall. Jeremy Blake also deserves great credit for the bizarre, acid trip like feel to the multi coloured interludes. Written and Directed by Paul Thomas Anderson, common themes of human separation, desire, a need for human interaction and compassion are all again to the fore amidst a chaotic mix of a dysfunctional family and hilarious central narratives.
Your heart is guaranteed to swell by the end of this beauty of a film.
“Synecdoche, New York” (2008)
“I’ve told you before, it’s not a play about dating. It’s about death. Make it personal”
Charlie Kaufman’s directorial debut is clearly many things. A labour of love for sure and a somewhat autobiographical tale of a man desperately seeking that truly unique piece of artistic creation. Equally Synecdoche, New York (a slight play on words as the film is set primarily in Schenectady, New York and that synecdoche means a part of something that represents the whole, and vice versa — a key theme of the film) has echoes of his screenplay for Being John Malkovich in 1999 and of a man in the midst of an existential crisis, pondering on the meaning of life and the threat of death.
The man in question is “Caden Cotard” and is brilliantly portrayed by Philip Seymour Hoffman in one of his best performances ever to hit the big screen.
“Caden Cotard” (Philip Seymour Hoffman) Before and after playing Cotard here, consider these impressive roles portrayed by Hoffman: Scotty J in Boogie Nights, the incredibly sympathetic performance as Phil Parma in Magnolia, Truman Capote, Paul Zara in The Ides of March and the tour de force performance in yet another Paul Thomas Anderson film, The Master, as figurehead Lancaster Dodd. And in my humble opinion his performance here rates amongst the very best of his unfortunately short career. One of the greatest actors of our generation, he gives everything in his portrayal of Cotard as the film spans 30+ years of his life from 40 years of age onward until his death. Cotard is a hypochondriac theatre director seeking to leave the legacy of his lifetime, that one true piece of unique art that he will be remembered by. But from the very outset of the film we see and feel the angst within him. “I don’t feel well” he proclaims early in the piece before we see him deteriorate in skin lesions and horrific visits to the toilet. In his mind, illness is everywhere and he’s constantly at odds with life, distressed by everyday occurrences, the television, junk mail and adverts and from a family that he is becoming more and more distanced from. Clearly experiencing an existential crisis, he is melancholic, cold even and too honest for his own good at times as he ponders the meaning of life and his mortality. Cotard is constantly surrounded by women and never fully able to engage, always missing and wanting someone that he can’t have. As a means of distraction maybe, he secures the ability to follow his dream by creating a self contained world in a vast warehouse that quickly resembles and very quickly escalates into a exact representation of his world and experiences, a play within a play and indeed a life within a life until the lines between fiction and reality blur to indistinguishable levels. All day every day is now spent “on set” with character doubles for every person within his life, even himself, with his mind fracturing piece by piece as he strives to continue his unique theatre art.
In a vast production such as this there are far too many characters and events to describe fully (and setting aside spoilers) the supporting cast are superb with each uniquely adding to this surreal film. Catherine Keener portrays Cotard’s first wife “Adele Lack” brilliantly, aloof and distant from Cotard and a polar opposite of his melancholic demeanour, she is a fellow artist also seeking that one unique art form opportunity who with the help of her best friend “Maria” (Jennifer Jason Leigh) soon tires of Cotard and his ailments and angst and moves to Berlin to further her artistic career. Now alone, Cotard spends significant time with perhaps the one true human being to cross his path and with whom he would finally fall in love but never truly have in his life. “Hazel” is brought to life magnificently by Samantha Morton in a sympathetic and empathetic role that truly draws you as the audience further into the film. Being a Charlie Kaufman film, naturally Hazel lives in a burning house! “I like it I do” proclaims Hazel on the house “But I’m really concerned about dying in the fire”. The joint scenes between Hoffman and Morton are the film’s true heart beat, yet truly heart breaking as long into their twilight years Cotard laments to Hazel “You’ve been a part of me forever. I breathe your name in every exhalation”.
With the play continuing with no end or indeed audience in sight, every member of Cotard’s life begins to be played within this “play within a play” structure by jobbing actors and this is never more striking than with “Sammy Barnathan” (Tom Noonan) who portrays Cotard himself. In an almost wraith like performance, Noonan is utterly compelling as he eerily admits “I’ve been following you for 20 years” and has learnt every aspect of Cotard before enacting what he’s learnt in real life. Sorry, within the play!
Are you as confused as I am?
With striking parallels to Kaufman’s previous writings and with an admitted autobiographical tone, Synecdoche, New York is soaked with further parallels to Shakespeare and a play within a play and of course “All the world’s a stage, and the men and women merely players”. But from a present day perspective it is perhaps more accurate to describe it as an existential exploration of the human condition, of death and decay within a fractured and schizophrenic mind trying to make sense of the world he cocoons himself away from. Every time I’ve watched this incredible debut film from Kaufman I’ve found the lead up to the denouement incredibly moving and difficult to watch, due in no small part to his lead actor’s stunning portrayal. The film can be a difficult watch at times, frustrating even, but I find it continually fascinating and intriguing which will always reward with repeated viewings.
“The Ides of March” (2011)
“I am not a Christian. I’m not an Atheist. I’m not Jewish. I’m not a Muslim. My religion, and what I believe in is called the Constitution of the United States of America”
“Governor Mike Morris” (George Clooney) Although nominally a headline performance, this is another role whereby deliberately Clooney the Director melts into the background and allows his stellar cast to carry a magnificent film. A Democratic Governor running for President of the United States of America, this would seem a headline role but although prominent and indeed very good as Governor Mike Morris it’s very much a supporting role, and a supporting role eerily reminiscent of former USA President Barack Obama, both in mannerisms, style of speech, gestures and deliberations. The political platform on which Mike Morris runs, of national service, national unity, debt free college education, redistribution of wealth and of a society being bigger than the individual are all clear nods to the doctrine of former President Obama. As are the “Believe” Posters for Governor Morris.
This is George Clooney’s most serious film he has directed to date, his most serious role too, yet a role melted into the the background of his most stylish and accomplished directorial film to date too.
Based on the stage play “Farragut North” by Beau Willimon, Beau also contributed to the screenplay with regular writers George Clooney and Grant Heslov, all of whom were nominated at the 2012 Oscars in the Best Adapted Screenplay Award, the film’s only Oscar nomination. The film was edited by regular collaborator Stephen Mirrione, with Louise Frogley also returning as Costume Designer and a new Cinematographer involved, with Phedon Papamichael on photography duty. Also worthy of immediate note is Alexandre Desplat’s original music score which hums melodically in the background but with a brooding air that befits the film. A film close to a number of hearts as is perfectly indicated by the number of Producers noted including both writers Clooney and Heslov, and Leonardo DiCaprio.
The film open’s and, as is Clooney’s style, loops to a close in a similar vein with himself in the role of Governor Mike Morris on the campaign trail in Ohio and as is immediately stated as a real life truism “As goes Ohio, so goes the Nation”. This immediately roots us as the audience as being in the present, in a real life take on real life events, but not based on any past or present real life events. Art imitating life, but not based on real life events! As per the play it’s based on it roots itself very much in the present political climate and this is evidenced throughout with interviews with Charlie Rose and constant references to right wing bloggers, Sean Hannity, Rush Limbaugh, The Drudge Report, Chris Matthews, Rachel Maddow and many others including more familiar Television coverage and snippets of public speeches and addresses. Running against Governor Morris is “Senator Pullman” (Michael Mantell) and the opening of the film depicts their race in Ohio, of busy interns chasing votes and nominations, saturation television coverage, voters on the streets for their candidates and also a stellar cast list who each produce superb performances.
Philip Seymour Hoffman excels as ever as a driven, dedicated, experienced and obsessive Campaign Manager “Paul Zara” who mentors a younger “Stephen Meyers” (Ryan Gosling) who is every bit as obsessive and driven as his Boss. Gosling is the film’s stand out star and another performance to add to his burgeoning cannon of brilliant performances in previous films such as Blue Valentine and Drive. Although Zara’s deputy, his obsessive eye for detail and to be forever ahead in the polls and working for the future President is evident and he is very much “the big man on Campus”. It’s a brooding performance of idealism that perfectly encapsulates the dirty world of politics and worthy of Oscar consideration. Paul Giamatti provides yet another star performance, this time as “Tom Duffy”, a similarly driven obsessive but who works as Campaign Manager for the “opposition” Democratic candidate, Senator Pullman. Suffice to say these three male leads play out one of the film’s many themes, of political in fighting and self aggrandisement, and of treading on anyone who gets in their way, politically or otherwise, to succeed. To conclude the predominantly male lead roles, there are also excellent supporting roles from Max Minghella as Campaign Support Manager “Ben Harpen” and Jeffrey Wright in the pivotal role as “Senator Thompson”. In this predominantly male orientated (and testosterone filled) film, two particular female lead roles stand out with Rachel Evan Wood as a young, driven campaign intern “Molly Stearns” and an excellent performance from Marisa Tomei as New York Times Reporter “Ida Horowicz”.
A fantastic film worthy of more Oscar recognition and a firm favourite of mine, yet I still have major reservations. It feels like a “missed opportunity” for me in terms of shining a real light on American politics, on politics as a whole and of the two party system. That system in reality is just a one party system fighting for overall supremacy and feathering their own nest and giving the illusion of two opposing sides fighting for their electorate. The very fact we as an electorate accept a simple Blue versus Red, Republicans versus Democrats or here in the UK, Conservative versus Labour political system is laughable. Two choices? Two heavily paid for, lobbied for choices? Really? In the 21st Century? Is that the best we can do? Whilst the film definitely shines a light on this simple two sided battle for supremacy it doesn’t go anywhere near deeply enough into the charade masquerading as politics, of the lobbyists, control of resources, issuance of currency but most of all of the farcical nature of politics as a whole of one man (normally a man) controlling the decisions of a nation of 330 Million people? It’s a film of course and not a documentary but a film rooted in the prescient times we live and not reflective enough of that. The highlights are the veiled attacks of the touchy/feely aspects so often associated with the Democratic Party in the USA and especially the uglier and unseemly side of politics, the constant in fighting and media collusion that grows by the minute.
The other more minor reservation I have is the lack of depth to some of the great characters on display. All portrayed brilliantly by Ryan Gosling, Paul Giamatti, Philip Seymour Hoffman, Evan Rachel Wood and Marisa Tomei but Giamatti’s Tom Duffy and Hoffman’s Zara characters could’ve been used far more heavily and far more effectively with more development and screen time.
Aside from these gripes it is another superb film helmed by Clooney, full of suspense and intrigue that grips you entirely within it’s 101 minute running time. His most stylish and serious film to date yet with many early trademarks of sublime, stylised scenes juxtaposed against the grittier narrative throughout, with constantly slow and smooth running camera angles that immerse you in the story.
“The Master” (2012)
“We record everything. Throughout all lifetimes”.
To say it’s been five long years since There Will be Blood and that I have been eagerly awaiting this release since it was first mooted in 2009 would be an understatement. Add in to the mix a story loosely based on the beginnings of Scientology and it’s founder L Ron Hubbard, plus the supreme acting talents of Philip Seymour Hoffman and Joaquin Phoenix and it’s been a slow three years to arrive. But well worth the wait as Paul Thomas Anderson has again produced a truly wonderful film. Again Paul both wrote the screenplay and directed as well as producing but the first major change to note from his previous films is the choice of Cinematographer, with Mihai Malaimare replacing long term collaborative partner Robert Elswit. However this change doesn’t transmit in any way to the screen as you’re immediately struck by how vibrant, pinpoint sharp and colourful this film is despite it being slightly de-saturated of colour to reflect the 1940/50’s time setting.
The vibrancy of the picture is a joy, as are the multitude of settings photographed so well by Cinematographer Mihai Malaimare, bringing to life numerous beach scenes, ocean views and desert plains with a typically long lens but equally quite brilliant each time. Inside shots are framed and lit brilliantly, often in a cramped room of a house or ship, with Director Paul Thomas Anderson reinforcing the claustrophobia with tight angled shots and a gently rolling camera to encompass and capture the scene. At this early stage, all of Amy Wells (Set Design), David Crank and Jack Fisk (Production Design) and Mark Bridges (Costume Design) deserve immense credit, as does Jonny Greenwood for another haunting, claustrophobic, jaunty and eclectic film score and overall original music.
A biased fan of Radiohead I may be, however Jonny Greenwood’s musical score is again sublime and follows on from his success with There Will be Blood. The score here is very similar in tone to that of There Will be Blood with climbing operatic pieces mixed with orchestral pieces that accompany the film perfectly but in an odd and sporadic way. There are eleven original pieces of music from Jonny Greenwood with stand out pieces such as “Overtones”, “Time Hole” and “Alethia” perfectly encapsulating the characters fractured minds as they bump and pop along in the background of the film, rising and falling gently along with the narrative.
The musical tracks included are also odd and quirky choices but fit the film perfectly such as stand outs “Get Thee Behind Me Satan” by Ella Fitzgerald, “No Other Love” by Jo Stafford and “Changing Partners” by Helen Forrest over the closing credits. There are also three superb tracks from the actors themselves, with Philip Seymour Hoffman singing “Slow Boat to China” in a heart breaking scene as well as “I’ll Go No More A-Roving” in a bizarre and surreal scene! But the stand out belongs to actress Madison Beaty with “Don’t Sit Under the Apple Tree (With Anyone Else But Me)”. Many but not all of these feature on the CD soundtrack that accompanies this film and which is thoroughly recommended yet again.
The film itself is set between the end of World War II and the early 1950’s and covers roughly a five year period. The opening twenty minutes cover this time period quickly to bring us both up to date with the timeline and to fill in a compelling back story to “Freddie Quell” (Joaquin Phoenix). As with the beginning of There Will be Blood, this film also starts with minimal dialogue but supreme cinematography of a lapping tide at a beach with a naval platoon awaiting either orders or the end of the War. Freddie’s personal problems are immediately obvious in the first three or four minutes of this 144 minute classic as he’s immediately portrayed as an outsider and a loner with a strangely awkward gait and style.
His first words depict how to get rid of a sexual disease to a fellow sailor and then awkwardly he engages sexually with a woman figure carved in the sand to which he becomes too sexually excited and to the bemusement of his fellow sailors he masturbates into the ocean to relieve himself. Undergoing a medical to leave the Navy he continually references sex but the overall picture painted of Freddie is of an awkward and unsure outsider who wants to be accepted, along with his alcoholic “potion” that accompanies his journey from leaving the navy to becoming a cantankerous photographer in a local Mall, to chopping vegetables in a field in California before escaping and stowing away aboard a passing luxury ship. Here he meets “Lancaster Dodd” and “Peggy Dodd” and a legendary film is truly born.
“Freddie Quell” (Joaquin Phoenix) An alcoholic outsider and drifter whose quirks, ticks and nervous tension could be explained as a result of Post Traumatic Stress Disorder, or shell shock in the much simpler vernacular of the day. He is physically and mentally shattered into pieces. His physical ticks are evident through a lazy eye and speaking through one side of his mouth with a sometimes unintelligible drawl. His gait is awkward into an almost contortion of his body from the waist down and gives a constant appearance of being unable to stand up straight and move without the appearance of pain.
Mentally, Freddie’s obvious alcoholism is a constant problem and his hip flask is repeatedly on show as he tops this up with his “potion” but equally evident is his inappropriate bouts of overt sexuality and he’s unable to control a temper that swings violently out of control. In many ways Freddie is an open book for all of this and more and it’s to Joaquin Phoenix’s great credit as his performance from start to finish is exactly that, a performance, of obvious personality traits, ticks, compulsions and obsessions. His first session of “Informal Processing” (more of which later) is apt and confirms the openness we see as an audience to his failings. As he answers the questions during the processing I immediately contradicted every answer as his frailties are very much in evidence immediately he is on screen.
This is not to be seen as a negative in any way as this is purely intentional and part of Freddie’s journey in the film. Despite The Master moniker for the film, this is Freddie’s film and so expertly brought to life by a much maligned, but absolutely brilliant character actor in Joaquin Phoenix. A career defining performance and well worthy of his Best Actor nomination at the 2013 Oscars.
“Lancaster Dodd” (Philip Seymour Hoffman) Known throughout as “Master” by everyone he comes into contact with but not in a totally slavishly devoted way but more out of genuine respect for a pioneer figure who is seemingly perma smiled and loved by everyone that surrounds him. Jovial and very much the centre of attention with a hyper positive attitude, his performances and lectures always reference “past lives” and “processing” as well as constantly railing against a humanity that he sees as asleep to possibilities outside of their comfort zone. “Man is Asleep” is a telling reference to the “Cause” he promotes, of past lives continually living on through the soul and spirit to present lives and beyond.
Fiercely loyal to his family and his gathering band of devotees as well as the Cause’s message, Dodd’s duality is subtly unravelled but never more evident than when his message and teachings are challenged. However there is far more than this as the film progresses. Yet another wonderful character performance from Philip Seymour Hoffman in a Paul Thomas Anderson film, their fifth collaboration in six films, and a very well deserved Oscar nomination for Best Supporting Actor at the 2013 Oscars.
“Peggy Dodd” (Amy Adams) A thunderous and career defining performance from Amy Adams and as with her esteemed co-stars, fully deserving of her Oscar nomination in 2013 for Best Supporting Actress. With minimal dialogue, it’s the touches, glances and often cold barren stares that make this performance so thunderous and my immediate take is that Peggy is the real driving force behind the “Cause” and very definitely the power behind the throne. Always seemingly looking at (through?) and perhaps constantly and silently judging Freddie, she is vociferous to outsiders and non-believers but in a subtle and nuanced way. She reserves her vitriol for Lancaster and their private time together but in public is a silent, judging rock for her husband.
As the film develops so too does Peggy’s silent menace and never more aptly shown than when Lancaster is challenged over the veracity of the cause. As Lancaster becomes angry and flustered Peggy is silently raging at the challenger, firstly in soft out of focus just below her husband who dominates the shot but two quick cuts later display her rage and apoplexy at the cheek of anyone to question their beliefs. There is one brief scene between husband and wife that spoilers prevent me from disclosing but when you see it you will understand the definite power balance in play. It’s a wonderfully surreal scene that says so much. The joy of Adams’ performance is the subtlety on display and against two astounding performances above, eclipses these to become the true stand out star.
Across several narrative strands and locations there are superb supporting roles throughout notably Amber Childers as perma smiling daughter “Elizabeth Dodd” and Jesse Plemons plays fellow sibling “Val Dodd” brilliantly with purposely very little dialogue to work with. Rami Malek is excellent as Lancaster’s new Son-in-Law “Clark” and Madison Beaty plays “Doris” with a gentle beauty that is perfectly encapsulated when she sings “Don’t Sit Under the Apple Tree”. Laura Dern plays a socialite/supporter of the Cause well as “Helen Sullivan” and finally Kevin J O’Connor returns from a similarly vague role in There Will be Blood with another here as “Bill William”. There are many more cameo and supporting roles as we weave between Freddie’s leaving of the Navy to following the Cause and following Lancaster Dodd as he travels from city to city to promote his faith, his writings and his experiences.
Two brief scenes follow, one encapsulates Freddie’s early sexual desperation and a burgeoning alcohol problem, the other is a thunderous piece of cinema. Each scene is vastly different to the other but an ideal taster for Freddie’s journey and wonderful examples of the Director’s eye for cinematic scenes of real beauty.
“Martha the Salesgirl” (Amy Ferguson) is introduced in a beautiful, gentle and almost balletic continuous camera shot as she walks the floor of the Department Store selling the dress she’s wearing. Always smiling but equally always looking in Freddie’s direction as she continues her gentle dance around the floor, the scene is accompanied by the sublime “Get Thee Behind Me Satan” by Ella Fitzgerald. “You have a break coming?” asks Freddie.
As “Get Thee Behind Me Satan” continues gently in the background there is a brief interlude scene whereby Freddie makes his “potion” and this is quickly cut to Martha sampling his concoction. Freddie is now drunk and weaving as the pair stand together in his yellow tinged photography darkroom “Taste Good?” he asks before forcibly kissing Martha and breaking out into his manic laughter. Martha plays along with the sexual tension, teasing Freddie with “What else do you want to see, these?” as she reveals her breasts. Before she can do so, Freddie’s immediate “Yes” perfectly depicts his sexual desperation. Playing with Martha’s breasts, they kiss passionately again before Freddie regains a little composure to ask Martha for a date.
A brilliant cameo appearance from Amy Ferguson and Joaquin Phoenix sets the tone again for Freddie’s coming descent.
Next, following Dodd’s arrest, Freddie’s violent reaction leads him to be arrested too and they are both housed in adjoining jail cells. Freddie’s arrival sees a violent continuation of his frustration as he continually head butts a bed and a cell wall before kicking the toilet to pieces in abject anger and rage. Dodd stands in his cell completely impassively throughout watching his friend’s tortuous and violent outburst before he finally comments “Your fear of capture and imprisonment is an implant from millions of years ago. This battle has been with you since before you know it. This is not new. This is not you”. Freddie continues to reacts angrily to Dodd’s calming words and with a camera angle to between the two cells their continuing exchange is captured, of Dodd preaching to his friend and of Freddie, prowling his cell like a caged lion. As the camera reverts back to Dodd, he continues “You are asleep. Your spirit was free. Moving from body to the next body. Free. Free for a moment. Then it was captured by an Invader force bent on turning you to the darkest where you’ve been implanted with a push/pull mechanism that keeps you fearful of authority and destructive. We are in the middle of a battle that is a trillion years in the making and is bigger than the both of us”.
An intense face to face argument ensues:
Freddie: “Your fucking family hates you. Your son hates you”
Dodd: “Who fucking likes you, except for me?”
The scene ends in a surreal and bizarre fashion however not before Dodd continually and tellingly reinforces to Freddie that he is alone with no friends to call on and that he alone is his only friend who believes in him yet still does not want to see him ever again. “We’re done. You’re a drunk. We’re done”.
This is just one example of numerous thunderous performances from Joaquin Phoenix and Philip Seymour Hoffman in their joint scenes together. There are six in all whereby they are the only two characters in the scene, plus a heart breaking telephone conversation. Each scene from their initial meeting as Freddie is caught as a stowaway to their telephone conversation adds more and more layers to a fractured and seemingly difficult friendship that is ultimately far more than a simple friendship.
I know a little of Scientology as a religion, it’s teachings and indeed it’s spiritual Leader L Ron Hubbard, but I’ll leave discussions for people far more learned than I. Suffice to say the comparisons and references of “The Cause”, “Past Lives” and “Processing” are obvious nods to this as is the ever smiling and charismatic Leader Lancaster Dodd. Forever known simply as Master he is the Master of all he surveys and always the centre of attention. The Processing aspect is heavily covered and for the uninitiated this appears to be a form of regression, but not to your childhood but to past lives lived and experiences gained for this life. A perpetual soul and spirit living on from body to body, life to life. There are also numerous references from Dodd to the comparisons between humans and animals and the distinctions between the two and our advancement as humans over the animal kingdom.
But what captivated me, and always captivates me, are the three central performances from Amy Adams, Joaquin Phoenix and Philip Seymour Hoffman, sublime cinematography from Mihai Malaimare, a musical score from Jonny Greenwood that is awkward and jaunty and all the better for it and a joy of a film from Director Paul Thomas Anderson. Forever criticised for not being able to “end” his previous films, this is an unfair criticism labelled at him but not here. The ending is the weakest part of a brilliant film that captured my imagination from the first minute to the last and is Paul’s sixth utterly astounding cinematic feature. Roll on number seven and hopefully not a five year hiatus in between.
“Licorice Pizza” (2021)
Licorice Pizza is Paul Thomas Anderson’s ninth cinematic offering and should you wish to delve into his back catalogue from his first film Sydney (AKA Hard Eight) in 1996 through to The Master in 2012 there’s a link at the bottom of this article to the very first film blog I ever wrote and which is now a masterly 10 years old! Inherent Vice followed 2 years after The Master and was a patchy, surrealist showcase for a quirky and beautifully strange performance from Joaquin Phoenix before 2017’s Phantom Thread was just simply a masterpiece and Daniel Day-Lewis nearing his thunderous performance in a previous PT Anderson picture, There Will Be Blood, in 2007. These 9 films span a quarter of a century and of those not previously named you also have a porn star and a thriving porn industry, raining frogs, Tom Cruise as a Sex Guru and the entire cast of his incredible film Magnolia all singing along to the Aimee Mann song “Wise Up” before the rain clears and the frogs fall from the sky! In the midst of all this came a film 19 years ago entitled Punch Drunk Love and if I didn’t obsess over and adore Magnolia so much I’d venture that his 2002 ode to awkward love in a baffling world would be my overall favourite Paul Thomas Anderson film, and it’s one of the many reasons why I adore Licorice Pizza so.
His latest film is so eerily reminiscent of his classic 2002 tale of angry, unrequited and misguided (punch drunk) love but whereas 19 years ago a rarely ever better Adam Sandler was the angry, bewildered and repressed loner who fell blindly in love with the quiet and stoically happy character so brilliantly portrayed by Emily Watson, here the roles and sexes are reversed.
“Alana Kane” (Alana Haim). An almost mirror image to the “Barry Egan” character so well portrayed by Adam Sandler in Punch Drunk Love 19 years ago, the gender may differ but the repressed angst, anxiety and desire for liberation from an all consuming and suffocating family is writ large in Alana’s towering performance. Nominally 25 years old and questioning the veracity and wisdom of hanging around with children 10 years+ her junior, nothing is clear surrounding the circumstances of Alana’s life or indeed her actual name which is cut off amid a crucial and hilarious motorbike stunt mid-way through the film. She doesn’t appear or act 25, so how old is she really?
And what’s her real name?
What is abundantly clear is that Alana is stifled within a strictly religious family, by her gaggle of sisters and by her day job as a photographer’s assistant within a child acting talent agency (of sorts) in a 1973 California at the tail end of the “Summer of Love”, the beginning of yet another oil and gas crisis and toward the end of the Presidency of Richard Nixon. Alana is a budding actress herself but her frustrations and angst are constantly bubbling to the surface (ala Adam Sandler in Punch Drunk Love) and as her anger builds so too does her antipathy toward a family she tries to avoid and a budding love affair she refuses to accept.
Awkward, unsure of herself and with actions belying her true nature let alone her supposed true age or name, Alana Haim’s portrayal is simply wonderful.
“Gary Valentine” (Cooper Hoffman). Son of the dearly missed Philip Seymour Hoffman (and oft returnee to a Paul Thomas Anderson film over his entire, highly prized career), Cooper Hoffman portrays 15 year old Gary Valentine akin to Emily Watson’s performance of “Lena Leonard” in Punch Drunk Love. Both are permanently smiling, happy and at ease with a world they don’t completely understand but have taken by it’s tail and are wiggling it with a real verve for exploration, joy and with the freedom of innocence. Hoffman is magnificent as the young teenage actor who revels in the art of acting, in jokes and when one door closes he opens another in an entrepreneurial way again, like Alana, that belies his age. With both Alana and his gaggle of family and friends he opens a waterbed company at the height of it’s craze before diversifying into a rejuvenated market for pinball and arcade machines but always with at least one eye on the object of his unrequited love, and someone with whom he promises to marry one day and maybe he will.
The path of true love never runs smooth, even within the dying embers of a summer of love that appears long since forgotten with the USA on the brink of an energy crisis and a disastrous war (sound familiar anyone?). But Hoffman’s innocent smiles and warm exterior light up a childish infatuation that runs far deeper than would appear at first glance and the chemistry between the two main stars propel a film that disappears into so many tangential areas whilst keeping you fixed on the central theme of love throughout. Follow Hoffman’s smiles here and you may surprise yourself at how much you begin to love this beautiful film.
Surprisingly, I only noted one returnee from a previous PT Anderson film this time (his films are normally littered with returning stars from previous films) and it’s perhaps apt that the only returnee is a very brief cameo from the magnificent John C Reilly as Fred Gwynne/Herman Munster of Addams Family fame. But this sets the tone for a cast of supporting roles that are as bizarre as you come to expect from a PT Anderson film: Sean Penn stars as actor/director “Jack Holden” who in league with Tom Waits’ film director character “Rex Blau” bring much levity and strangeness in surreal abundance! Penn is lecherous and perhaps a little past his acting prime whereas Waits infuses his aged director with a Hunter S Thompson style of sheer anarchy and mischievousness. In league with a Politician running for Congress and trying desperately to hide his sexuality you also have a huge cast (including both the director’s and Alana Haim’s family as well as Leonardo Di Caprio’s Father) portraying varying Hollywood era style roles from producers, directors and talent agency scouts.
Topping off a huge supporting cast is Bradley Cooper as film producer, and very proud boyfriend of Barbra Streisand! Here again is another eerie call back to Punch Drunk Love, as well as Cooper’s performance in Silver Linings Playbook as he enthuses his character here with unhinged, desperate and frightening anger that is off the charts and brilliantly summed up in regular call back flashes as he struggles, along with everyone else, to simply fill his expensive car with much needed petrol. Spoilers do not allow for further exploration of his cameo but it’s brilliantly anarchic and frighteningly desperate.
There are further call backs to Punch Drunk Love (a bed retailer) and an awkward comedy quota that is particularly high but also particularly and peculiarly seen through the prism of Paul Thomas Anderson’s cinematic lens and loving eyes. The “hand job” quote is a throwaway line in a toilet scene that shocks Alana to the core, as does her reaction to her Father’s outrage that her latest boyfriend simply isn’t Jewish enough and you have to be invested in the characters to get the rationale for the in jokes and throwaway comedic lines. But as with the constantly referenced Punch Drunk Love, as well as Boogie Nights, Magnolia and Inherent Vice, you will be invested in these based on real life characters and if you believe in the central strand to the whole shebang, the love story that beats out of the collective chests of Alana Haim and Cooper Hoffman, you may love this film as much as I did.
The soundtrack is an ode to the early 1970’s with tracks from The Doors and David Bowie pleasing this particular music fan but what pleased me the most was the sheer energy, joy and freedom writ large weaved into yet another love story penned and shot by a magnificent film director of this, and any other generation you care to name. Should you fancy regressing to your teenage years amid a 70s soundtrack, a cast of characters who will put a smile firmly on your face and remember those halcyon days of infatuation and first loves, this is the film for you.
Thanks for reading. My three most recently published film articles are linked below:
