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Paul Thomas Anderson: Boogie Nights
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The films of Paul Thomas Anderson typically deal with the significance of familial relationships over time, especially with regard to fathers and their children. Themes concerning divine fate, the serendipitous nature of love, and the role of media in contemporary life are ... common. The director stresses the interconnections between his characters as these forces unpredictably, and even chaotically, weave in and out of their fragile lives. Anderson's stylistic trademarks include the frequent use of logistically difficult steadicam-based long takes, such as the opening shot in Boogie Nights (which lasts approximately 3 minutes without a cut), and an aggressively bombastic use of sound and music.
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It is 10 years since Paul Thomas Anderson first left audiences and critics dumbstruck and confounded with his breakthrough film Boogie Nights, when he was just 27. How could such a pipsqueak of a director, they asked back in 1997, create a masterpiece that wowed right from its opening sequence: an audacious five-minute tracking shot that swoops and swirls through the nightclub of the film's title in joyful synchronization to the dance music of the 1970s.
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If American moviemaking has a wunderkind these days, it would be Paul Thomas Anderson. At only 29 years old, Anderson has turned out three complex and singular films in three years: Hard Eight, a tale of gambling and redemption in Reno; Boogie Nights, which dared to be sympathetic to pornographers; and now Magnolia, a technically dazzling pastiche filled with star power (Tom Cruise, Jason Robards) and highly accomplished performances from actors who have appeared in all of Anderson's movies, including Philip Baker Hall and John C. Reilly. But while the three-hour-long Magnolia, which continues the recent tradition of lengthy serious films, is impressive, there's one unsettling fact about it.
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Boogie Nights