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Magnolia (1999)
The Perfect Review of a Perfect Film
In a time when much of what comes out in Hollywood is simply the regurgitation of old TV shows, thank God for Paul Thomas Anderson's gall in bringing us Magnolia, about that which is most important in life: self-awareness and our often startling and tragic lack of it.
I didn't actually write the perfect review of this movie (I know you're shocked). The best review of this film I've seen (here on IMDb or elsewhere in fact) is by aerives, and I must recommend you read it. Much of what I have to say on the subject of Magnolia he said-- and better than I would have. In some ways I consider my comments something of an unauthorized addendum to his, though I am sure that a discussion of the revelations in Magnolia could go on ad infinitum.
I think many of the people who take issue with this film do so because the use of the language, among other visually and emotionally jarring elements, offends their sensibilities in some way. On the IMDb's title page for Magnolia, for example, it blithely informs us under Trivia that the word "fuck" is used 190 times. However, within the context of the film the fact that everyone speaks "the same language" ties it all together in a way that nothing else does. The patterns, both archetypal and specific, throughout the film (The child is affected by the parent, the child becomes the parent and affects their child. The past affects the present which affects the future) -- all of the-- are looped into one another more fully because the "voice" that speaks the stories, even speaks through the separate characters, remains consistent.
In any event Magnolia is, in my estimation, a perfect film. It has a vibrancy and an electricity that is unparalleled and a message that screams to make itself heard. It is not, however, for the faint of heart or those unprepared for its powerful and often alarming, "in your face" approach to the story it is telling. Nor is it, I think, for those leading unexamined lives.
Tootsie (1982)
My Favorite Film
Not only is this a tremendous comedy, but it's one of the finest films I have seen about the process, the art and the trans-formative power of acting.
In playing the part of Dorothy Michaels, "difficult" actor Michael Dorsey learns not only how to be a less difficult actor, but a better man and better human being. In interviews I've heard Dustin Hoffman say that he learned the same thing, and I believe it. I am STILL bitter that Hoffman didn't win the Oscar for this film. The transformation he makes in his performance as Dorothy is so complete and engaging and subtle that one almost forgets she is a man until with one tiny peek over the tops of her glasses at a pretty girl's derrière, we are shocked into remembering. In a career as exemplary as Dustin Hoffman's I share his sentiments that this is his finest film.
The writing and direction are unparalleled. There is simply not a mis-step in the production. Filled with some of the most hilarious, memorable, and lovable moments in cinematic history, this is a film you simply must not miss.
Taylor's Return (1997)
An Under-Rated, Subtle Family Drama
I really enjoyed this film. Unfortunately I only happened across it because a friend who loved it had recorded it off of Bravo a few years back and decided to show it to me. Where has it disappeared to, and why haven't more people seen it? I don't know the answer, but I highly recommend it to all who enjoy well written and visually engaging family drama.
The drama itself is subtle and understated, but evokes all the turmoil and beauty involved in revisiting family when one hasn't entirely outgrown them. All the acting is capable, but the three brothers are really the strongest in the film. Matt Nolan is wonderful as Taylor, a young man returning to face a father he loves but has never been able to connect with. Dylan Neal (Sabrina the Teenage Witch and Dawson's Creek) shows himself capable of real subtlety as the older over-achieving brother who long ago stole and married Taylor's sweetheart. Lastly, hitherto unknown Brian Frank steals the film with his portrayal of the somewhat lost, youngest brother who is still at home and trying to follow his dreams of being a musician while living with his disapproving parents. The interplay between the three is in many ways the heart of the movie.
Writer and director, Andrew Humeniuk, knows just how to accent these relationships visually, making some unusual and often breathtaking choices. Interestingly, I actually felt there were moments in the movie when the way it was shot was actually meant to increase the audiences physical discomfort in ways that mirrored the emotional discomfort felt by the characters. And it worked! I did a search for Humeniuk on here and haven't found anything. If anyone knows if he's still in the business either writing or directing I'd be interested in seeing anything else he's done. The Cinematographer, Jay Fergeson is also to be commended for the visual poetry of the film.
At any rate, enjoy. I think Amazon still carries the film if you want to check it out!