Genre: Drama
Length: 3h 8m 0s
Director: Paul Thomas Anderson
Tagline: Things fall down. People look up. And when it rains, it pours.
Plot outline: Magnolia is the study of nine lives in one day in San Fernando Valley, California. These nine lives all connect and revolve around the game show "What Do Kids Know?"(WDKK), where a team of three kids play against adults and everytime the show is on, there is a new team of adults and the kids remain; if they won the previous game. Earl Partridge (the late Jason Robards) produced "WDKK" when it was first on in the late 60s. He is dying of brain and lung cancer and is being taken care of by Phil Parma (Philip Seymour Hoffman), a male nurse. Linda, Earl's trophy wife (Julianne Moore) starts to fall in love with Earl for real, despite her cheating. Earl, rapidly dying on his bed, asks Phil to find his estranged son, Frank T.J. Mackey (Tom Cruise), who grew up hating Earl and now runs a seminar for single men, which teaches them how to seduce a woman and leave her... The host of "WDKK", Jimmy Gator (Philip Baker Hall), is also dying, but not as rapidly as Earl. He has a very rocky relationship with his daughter Claudia (Melora Waters), who sniffs crack 24/7 and accuses her father of sexually molesting her. Police Officer Jim (John C. Reilly) goes to Claudia's house after getting called about a disturbance. He falls in love with her right away... Stanley Specter (Jeremy Blackman) is a contestant on "WDKK", who is a genius and is being used by his father to make money. If Stanley and his team keep winning, they will set a record on the show and get tons of money. The record Stanley is trying to beat is the 1968 record set by Donnie Smith (William H. Macy), who had the exact same childhood when he was on the show and has now grown up to be a pathetic loser. He's been recently fired from his job, and is trying to find his way into happiness... Summary written by Noah Redfield {NoahR456800@aol.com} In the style of Ripley's Believe It Or Not, coincidence has played a part in three bizarre deaths during the past century... Jimmy Gator has hosted the popular quiz show "What Do Kids Know?" in Los Angeles for over 30 years. Stanley is the brightest of the three kids currently reigning on the show. Jimmy is estranged from his daughter, Claudia. Living in her cheap apartment, Claudia is hooked on cocaine. Donnie Smith had been a famous whiz kid on Jimmy's show decades ago. Since being hit by lightning, he does promotional work for the Solomon Bros. appliance store and dreams of getting an expensive set of braces for his teeth. Frank Mackey is a very successful motivational speaker. His aggressive seminar on dating, "Seduce and Destroy", is well attended by frustrated bachelors. Officer Kurring answers a call at a woman's apartment and finds a corpse in her closet. Affluent producer Earl Partridge is bedridden and dying of cancer. His beautiful wife Linda married him for his money... The quiz show kids are close to setting an all-time record; Stanley feels the pressure from his father. Jimmy has learned that he has cancer and only two months to live. Officer Kurring arrives at an apartment where neighbours have complained about the noise; Claudia opens the door. Earl asks Phil, his nurse, to contact his estranged son; the younger Partridge now uses the name Frank Mackey... Summary written by David Woodfield 24 hours in L.A.; it's raining cats and dogs. Two parallel and intercut stories dramatize a man about to die: both men are estranged from a grown child, both want to make contact, and neither child wants anything to do with dad. Earl Partridge's son is a charismatic misogynist; Jimmy Gator's daughter is a cokehead and waif. A mild and caring nurse intercedes for Earl, reaching the son; a prayerful and upright beat cop meets the daughter, is attracted to her, and leads her toward a new calm. Meanwhile, guilt consumes Earl's young wife, while two whiz kids, one grown and a loser and the other young and pressured, face their situations. The weather, too, is quirky. Summary written by {jhailey@hotmail.com}
Comment: `Magnolia' seems to divide audiences as much as it bewilders them. Some there are who see it as a brilliant exercise in creative, thought-provoking moviemaking, a film that challenges the notion that modern American cinema is comprised exclusively of formulaic retreads of earlier films or slick, mechanical displays of technical virtuosity, devoid of meaning and feeling. Others view `Magnolia' as the nom plus ultra of pretentiousness and self-satisfied smugness. Which of the two assessments is the correct one or does the truth lie somewhere in between? Actually, there is much to admire and cherish in `Magnolia.' Writer/director Paul Thomas Anderson has done a commendable job in putting on the screen a relatively unique vision a qualification I feel forced to make because it does seem patently derived from much of the trailblazing work of director Robert Altman. Like Altman, Anderson creates a vast canvas of barely-related and briefly overlapping storylines and characters that come together under the umbrella of a single major theme and a few minor ones as well. Anderson's concern is to explore the concept of forgiveness and to examine the part it plays in the redemption we all seek through the course of our lifetimes. In this film, dying characters struggle to make amends with the loved ones they will soon leave behind, while estranged characters grope tentatively to establish or re-establish the bonds that must link them to other members of the human race. Anderson presents a tremendously wide range of characters, though for a film set in the northern areas of Los Angeles, `Magnolia' provides a surprisingly non-diverse sea of Caucasian faces. However, in terms of the ages of the characters, Anderson's crew seems more comprehensive, running the gamut from a pre-teen wiz kid to a terminally ill man in his mid-60's. Many of these characters seem to have created any number of facades to help them cope with the miseries and disappointments of life and much of the redemption occurs only after those masks are stripped away revealing the emptiness and hurt that, in many cases, lurks so close to the surface. Thematically, then, Anderson's film is a compelling one. Dramatically, however, it suffers from some serious flaws. Many viewers and critics have called `Magnolia' an artistic advancement, in both depth and scope, for Anderson, whose previous film was the similarly dense, moderately freeform `Boogie Nights.' I tend to disagree. If anything, `Boogie Nights,' by limiting itself to a much more narrowly restricted milieu the 1970's porn industry and focusing intently on a single main character, managed to connect more directly with the emotions of the audience. `Magnolia,' by being more expansive, paradoxically, seems more contracted. The pacing is often languid and the screenplay, running a bit over three hours, often seems bloated given the single-mindedness of its basic theme. Certainly, a few of these characters and storylines could have been dispensed with at no great cost to the film as a whole. By lining up all his characters to fit into the same general theme, the author allows his message to become a bit heavy-handed and over-emphatic. Anderson seems to want to capture the whole range of human experience on his enormous (and enormously long) movie canvas, yet because the characters seem to all be tending in the same direction - and despite the fact that the details of their experiences are different - the net effect is thematically claustrophobic. The controversial ending, in which an event of literally biblical proportions occurs, feels generally right in the context of this film, though with some reservations. It seems perfectly in tune with the quality of heightened realism that Anderson establishes and sustains throughout the picture. On the other hand, the ending does pinpoint one of the failures of the film as a whole. Given that the screenplay has a strong Judeo-Christian subtext running all the way through it, one wonders why Anderson felt obliged to approach the religious issues in such strictly oblique terms. None of the characters not even those who are dying seem to turn to God for their forgiveness and redemption. In fact, one wonders what purpose that quirky ending serves since the characters are well on their way to making amends by the time it happens. Anderson has marshaled an array of first-rate performances from a talented, well-known cast. Tom Cruise provides a wrenching case study of a shallow, charismatic shyster, who has parleyed his misogyny into a lucrative self-help industry. Yet, like many of the characters, he uses this faηade as a shield to hide the hurt caused by a father who abandoned him and a mother whose slow, painful death he was forced to witness alone. The other actors, too numerous to mention, turn in equally worthy performances. Particularly interesting is the young boy who, in counterpoint to one of the other characters in the story, manages to save himself at an early age from the crippling effect of identity usurpation that it has taken so many others in this film a lifetime to overcome. In many ways, `Magnolia' is the kind of film that could easily serve as the basis for a lengthy doctoral dissertation for a student majoring in either filmmaking or sociology. The density of its vision would surely yield up many riches of character, symbolism and theme that a first time viewer of the film would undoubtedly miss. Thus, in many ways, `Magnolia' is that rare film that seems to demand repeat exposure even for those audience members who may not `get it' the first time. As a viewing experience, `Magnolia' often seems rambling and purposeless, but it does manage to get under one's skin, and, unlike so many other, less ambitious works, this one grows in retrospect.
IMDB Rating: 8.0
Country: USA
Language:
Subtitels: No ()
CDs: 0
| Quality: | Video (?x? @ ?.?? [[unknown] ?kb/s]) | Audio (?Hz ?bit ? chan. [[unknown] ?kb/s]) |
| Actors: | ||
| John C. Reilly | as | Jim Kurring |
| Tom Cruise | as | Frank T.J. Mackey |
| Julianne Moore | as | Linda Partridge |
| Philip Baker Hall | as | Jimmy Gator |