This is one of the few films that I’ve actually purchased on video, watched multiple times, and shown to friends. The reactions are mixed, but it always, at the very least, triggers a great discussion. My opinion of the film now is that it is very beautiful, very interesting, somewhat flawed, but with some great, great moments. Philip Seymour Hoffman, may he rest in peace, was fantastic in this movie.
My friend Alan and I went to see the film Magnolia yesterday.
It runs something like 3 hours and 15 minutes, making it one of the longest mainstream feature films I’ve ever seen.
It is, no doubt about it, a very interesting film. I am still not quite sure what I think about it. I think most people will have this reaction. However, the very fact that it lends itself to a lot of pondering makes it better than 99% of the films being churned out.
My biggest compliment towards the acting in this film is that for almost the entire movie, you are not reminded that there is actually any acting going on. It seems instead like you have been given the opportunity for a kind of voyeurism, watching a whole bunch of segments of very troubled people.
There is a framework and overarching theme, but it is a bit of a stretch, and a not-entirely-convincing fit to the content. This makes it more interesting rather than less, because it encourages you to think for yourself about whether you agree or disagree.
If you are interested in seeing it, I highly recommend that you not see it on video. Go see it on a big screen. The director makes real use of the widescreen format and surround sound. For example, there is a great scene where Tom Cruise and Jason Robards are together on the right half of the screen, and a male nurse character is watching them, out of focus, at a nervous distance, on the extreme left side of the screen. This would be completely screwed up without the original aspect ratio.
People are going to have very individual reactions to this film. To illustrate, here are some snippets from online reviewers:
“The film is a sprawling artistic triumph, displaying an amount of downright shocking originality and vigor that very few films ever hope to obtain.” (Dustin Putman)
“Magnolia is an over stuffed stinker that reeks with pretentious situations and over written scenes of ulcerating ugliness.” (Walter Frith)
“To heap praise on the acting would be a grave understatement — a finer cast may not ever have been assembled. To laud the direction would be futile — it may be the best of the decade.” (John Popick)
“What little there is to rave about in some of the performances… is drowned out by a protracted chemistry among its cast and is comparable to having one of your teeth pulled without anesthetic and then needing all of your teeth removed because your dentist fouled up.” (Frith)
“The film starts rather unconventionally… the ending is beyond explanation and would be ruined if I were to try. In between, the film is excruciatingly sad, yet inexplicably beautiful.” (Popick)
“What is most shocking about Magnolia is how it uses its music score. The music literally goes on for so long that it obliterates the senses and doesn’t know when to quit.” (Frith)
“At one point in the film, one of Mann’s songs is performed by each character in a karaoke music-video style that will certainly be remembered as one of the greatest cinematic moments of the year.” (Popick)
“Magnolia is so large it really climaxes twice, Anderson reveling in each peak, where other artists stumble. Instead of dreading the turbulence, like a pilot in a hurricane, Anderson relishes that intensity, plays it out with all his might…” (Ross Anthony)
Ann Arbor, Michigan
January 2000