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Magnolia (1999) is a very unique film much like a profound psychological study that follows the lives of nine characters over a 24 hour period who are living in San Fernando Valley, California. Although this is an ingeniously unique and creative movie, I think Paul Thomas Anderson betrays a touch of overconfidence in his own talents as director. For example, he opens this movie with a reflection on the phenomenon of coincidence. He indulges in precious motifs such as having all of his characters sing a song called "Wise Up" in a long medley. In short, Paul Anderson appears determined on making his own persona felt in the movie and I think these strategies only serve to alienate the audience from the same characters that he so painstakingly created. Regardless, I think Magnolia (1999) is very impressive film that would have been far greater if Paul Anderson allowed his characters do the talking, instead of talking through his characters. The film begins with an uncannily appropriate state of mind in which the viewer is given a few vignettes detailing some urban legends where amazing coincidences suggest the hand of fate at play. This scene sets a kind of gloomy mood for the film that remains with you until the end. These emotions are complemented with the use of floating, semi-ambient music created by Jon Brion and Aimee Mann. This musical score adds an intangible sense of a continuous undercurrent, a magical feeling that there is some generous force watching over the characters while allowing the viewer a voyeuristic peek into their worlds. Despite feelings of destiny arising from the ashes of the past, in reality it is not the force that controls us as much as it is we who control the force. In other words, this movie is all about choices and how we all must assume responsibility for the choices we make. Such a study into the psychology of human nature would be impossible without the prerequisite of realism and the power to make us believe in the characters which brings me to the performances. The acting is incredible. Each cast member delivers a fantastic performance that endears the audience to identify with their characters as well as their plights. Jimmy Gator (Philip Baker Hall) is the long-time host of a popular game show that places child prodigies against adults. His show has made stars of child geniuses such as Donnie Smith (William H. Macy) and modern-day boy wonder, Stanley Spector (Jeremy Blackman). Jimmy Gaynor's wife, Rose (Melinda Dillon), is trying to hold together her splintering family to include her emotionally aloof and coke-addicted daughter, Claudia (Melora Walters). Claudia, in turn, is being wooed by a sincere but stupid police officer, Jim Kurring (John C. Reilly), who is unknowing of her addiction. The other family within this movie is the Partridges. Rich television producer Earl Partridge (Jason Robards) is dying of cancer, and his young wife Linda (Julianne Moore) is wracked with guilt. Earl appeals to his caretaker, Phil Parma (Philip Seymour Hoffman), in locating his estranged son who happens to be none other than Frank T. J. Mackey (Tom Cruise) who is a woman hater and the driving force behind self-help franchise and a series of "Seduce and Destroy" seminars. Finally, an outstanding supporting cast of frogs – lots and lots of frogs. All of these characters are connected in the artfully tangled threads of humanity inside a web of sub-plots and relationships that the film presents with a poised ease. This weaving of the sub-plots is edited extremely well and follows engaging patterns that offers redemption in some of the strangest places. The camera is perfect. Capturing emotion as he did in Good Night and Good Luck (2005) and Bounce (2000), cinematographer Robert Elswit beautifully renders this film in such a seamless manner that the camera seems to be working on its own, weaving through hallways and long shots without any cuts. The camera also seems to reach deep into the characters and expose all their vulnerabilities for the audience to see. Plot developments flow from the actions as swiftly and confidently as if they were documentary material, a testament to Paul Anderson's brilliant screenwriting abilities. Throughout this three-hour movie, the audience is exposed to moments so shocking and others so touching that it can be compared to an emotional roller-coaster ride. I think few will sincerely like this movie because of its unique presentation. However, if you prefer movies that "think" and "feel" for you or desire 90-minutes of mindless special effects, this movie will likely disappoint you. On the other hand, if you enjoy dramatic character studies that require effort and thought leaving you a sense of impression long after you have viewed them much like American Beauty (1999), The Last Picture Show (1971), and Happiness (1998), you will likely find this film very entertaining. email this review to a friend
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