Produced by: Sara Murphy, Adam Somner, Paul Thomas Anderson
Cast: Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie etc.
Cinematography: Michael Bauman and Paul Thomas Anderson
Edited by Andy Jurgensen
*** MAY CONTAIN SPOILERS ***
Any film from Paul Thomas Anderson will certainly receive high critical praise and Licorice Pizza (2021) is certainly no different. Not only do I think this is his most over-rated film. I don’t even think it is a good one. Not for any technical reasons. Because as usual Anderson’s filmic skills as a director, the scintillating cinematographic style, the evocative rendition of early 1970’s Californian suburbs, plus two star-making turns within a formidable cast, ensure Licorice Pizza (2021) is deservedly going to win many plaudits. But I just did not get the story about pretty much nothing and did not connect with the lead romance.
Set in 1973, Licorice Pizza (2021), is part slice-of-life period drama and part character comedy, with a spine consisting of an odd romance between entrepreneurial fifteen-year-old, Gary Valentine (Cooper Hoffman) and twenty-five-year-old, Alana Kane (Alana Haim). While containing many brilliantly directed scenes, the film is a hot mess of indulgent rooting through Paul Thomas Anderson’s historical research and anecdotal events inspired by real-life film producer, Gary Goetzman.
Being asked to root for a relationship which is dubious on the surface and extremely complex to say the least is not beyond me. But Licorice Pizza (2021) doesn’t address the age difference, aside from a couple of moments in the script. I know Cooper Valentine is an old head on young shoulders, but why Alana doesn’t hang out with people her own age was weird for me. I’m not being politically correct or a prude, but is Anderson asking for us to root for what could end up being statutory rape. Am I over-thinking this? Well, all I can say is it impacted my emotions of a major aspect of the story.
Licorice Pizza‘s (2021) worst crime is it’s virtually plotless and I could not identify with the characters. I liked Gary to a certain extent as he ducks and dives to make a living, but what was at stake? Nothing really. Yeah, I get it is art but I found Anderson’s vision boring. Sure, the actors are great, especially the effervescent Alana Haim. Virtual cameos from Sean Penn, Bradley Cooper and Tom Waits failed for me though, with Cooper’s coke-addled and womanising impression of Jon Peters about as funny as an enema. Of course, the cinematography, period design, soundtrack and costumes are exquisitely presented, but they exist in an emotional vacuum. Finally, Licorice Pizza (2021) made me want to watch Paul Thomas Anderson’s previous 1970s masterpiece, Boogie Nights (1997). Now, that film deserved all the critical praise that came its way.
Produced by: Paul Thomas Anderson, Megan Ellison, JoAnne Sellar, Daniel Lupi
Starring: Daniel Day-Lewis, Lesley Manville, Vicky Krieps, Julia Davis etc.
Music by: Jonny Greenwood
One of the great cultural pleasures in life is finding a new filmmaker and building a relationship with them over time. When I found myself watching the quirky low-budget film Hard Eight (1996) in the late 1990s, little did I know that that film would be the beginning of a cinematic friendship with Paul Thomas Anderson. It was only when the sublime 1970s-set-ensemble-drama Boogie Nights (1997) was released that I knew I was watching a filmmaker of incredible talent; and so with subsequent releases that came to pass.
Anderson, can certainly be described, to use old-fashioned film theory parlance, as an auteur. His films formally, technically and thematically all contain recurring tropes and stylistic devices. Although one could argue he leant on his cinematic influences within his earlier works before stamping his own inimitable style in later films. Indeed, films such as: Boogie Nights and Magnolia (1999) – with their talented ensemble casts, whipping camera-moves, over-lapping music montages and a whole host of disintegrating familial and romantic relationships – echoed the films of Robert Altman and Martin Scorsese. Moreover, at the core of his films are father and son relationships, where literal and quasi-parentage is explored. Similarly in Hard Eight, Boogie Nights, Magnolia, There Will Be Blood (2007) and The Master (2012) obsession, duplicity and dysfunctional family units are examined within their respective settings.
Anderson has worked a lot in the past. He has covered the 1900s with There Will Be Blood; 1950s with The Master; 1970s with Boogie Nights and strange stoner comedy Inherent Vice (2014). In his latest release, the exquisite Phantom Thread (2018) we are in 1950s London, following the elegant yet idiosyncratic life of fashion designer Reynolds Woodcock; portrayed with formidable zeal by Daniel Day Lewis. Anderson and Day Lewis are, like they were with the fierce Daniel Plainview, in complete control of this fascinating character. He is brilliant at his job but also very specific in how his work, staff and routine must go. When he meets a waitress, Alma, the impressive Luxembourg actor Vicky Krieps, the two become entwined within a less than straightforward employer-employee-lover-master-servant romance. Their complex relationship is driven by attraction, rivalry, pettiness, admiration and envy; propelling the drama as the two enter into an understated and curious battle of wills throughout the narrative.
Once again Paul Thomas Anderson, along with his incredible filmmaking team, has delivered a masterclass in cinematic storytelling with exceptional camera work, costume design, acting, lighting, plus a score to die for from Jonny Greenwood. I have to admit I was slightly alienated by Anderson’s last two films Inherent Vice and The Master due to the ambiguity of the lead characters. But I can certainly say that emotionally Phantom Thread works way better as an elegant mix of romance, thriller, character study and fashionista drama respectively. Throughout the magnificent 70mm cinema presentation I was mesmerized by the elaborate patterns my old “friend” Anderson has woven within.
Movie stars are usually the Kings and Queens of a film! They propel the narrative and guarantee bums on seats when a film opens. They also create expectation and word of mouth buzz thus studios have invested heavily over the decades in icons such as: Al Pacino, Harrison Ford, Clint Eastwood, George Clooney, Julia Roberts, Tom Cruise, Arnold Schwarzenegger, Marilyn Monroe, Meryl Streep, Sylvester Stallone, James Cagney, Mel Gibson to name but a few.
I love movie star driven cinema, however, I’m also a big fan of the ensemble casts seen in genre films such as: comic book epics, crime thrillers, war films and Westerns. What an ensemble cast offers is a diverse set of characters and actors bouncing off one another to powerful effect. Most recently the mountain disaster film Everest (2015) had fine actors including: Jake Gyllenhaal, Jason Clarke, Michael Kelly, Emily Watson, Josh Brolin, John Hawkes and more. Thus, just for the hell of it I’ve picked out some of my favourite films which contained not just one big star but lots of fine actors who all combined to make a fantastic movie experience.
12 ANGRY MEN (1957)
Bona fide classic movie adapted from the TV play by Reginald Rose and directed by the legendary filmmaker Sidney Lumet. The claustrophobic nature of a jury arguing over a murder case is brought to the boil by a superlative Henry Fonda and sterling character actors such as: Jack Klugman, Lee J. Cobb, Martin Balsam and Robert Webber. It’s a real festival of acting full of sweat, anger, conscience, guilt and doubt.
AVENGERS ASSEMBLE (2012)
Joss Whedon’s Marvel behemoth broke all kinds of box office records across the world! It’s a humdinger of a movie with a cracking cast that included: Robert Downey Jnr, Scarlett Johansson, Mark Ruffalo, Jeremy Renner, Samuel L. Jackson, Chris Evans, Chris Hemsworth, Tom Hiddleston and many more! In fact, I’m surprised the set didn’t collapse under the weight of all the egos in front of camera.
GRAND BUDAPEST HOTEL (2014)
It’s cameo cast central in Wes Anderson’s fast-paced eccentric comedy with Ralph Fiennes leading the line-up with a terrific central performance. Also, tagging along for the quirky and colourful ride are such acting luminaries as: F. Murray Abraham, Willem Defoe, Tilda Swinton, Jeff Goldblum, Bill Murray, Jude Law, Edward Norton, Mathieu Amalric, Adrien Brody, Saoirse Ronan, Jason Schwartzman, Tom Wilkinson and Owen Wilson. Blink and you’ll probably miss some of them!
INCEPTION (2010)
Christopher Nolan’s mind-bending heist thriller features a dream cast. Or does it! Yes – it does! It’s a Hollywood pot-pourri of movie stars such as Leonard DiCaprio, Oscar winner Marion Cotillard, star-in-the-making Tom Hardy, veteran character actors like Tom Berenger and Michael Caine and feisty starlet Ellen Page.
LA CONFIDENTIAL (1997)
While the careers of Russell Crowe, Guy Pearce and Kevin Spacey have gone up and down in various measures recently this brilliant crime film found them on the rise up the Hollywood ladder. Here they play a trio of very different detectives investigating movie lookalikes, murder and police corruption in Los Angeles. Throw in the likes of Kim Basinger, James Cromwell and Danny Devito and you have a cast to literally die for.
THE MAGNIFICENT SEVEN (1960)
The cast of this classic Seven Samurai remake is remarkable as in, aside from Yul Brynner, they were all pretty much unknown at time of filming. So, kudos to the casting team who recruited such a charismatic troupe including: Steve McQueen, Charles Bronson and James Coburn; who would all become stars in their own right.
Not a large ensemble cast but a brilliant one nonetheless. In Mike Leigh’s quintessentially British council estate film we get three young British stars in Gary Oldman, Tim Roth and Phil Daniels plus Alfred Molina and Pam Ferris too. Each character drowns in depression, awash in concrete, unemployment and the stench of piss-stinking lifts and cigarette-stained wallpaper. This is a sad, funny, low-budget 1980s kitchen-sink classic.
THE OUTSIDERS (1983)
Similar to The Magnificent Seven this is a “before they were famous deal” with an incredible cast who would come to known in the 1980s as The Brat Pack. C. Thomas Howell, Rob Lowe, Emilio Estevez, Matt Dillon, Tom Cruise, Patrick Swayze, Ralph Macchio, and Diane Lane all starred in this tragic rites of passage story about teenage gangs and friendship. All the actors when on to have decent careers; but what ever happened to that Tom Cruise guy though?!?
PULP FICTION (1994)
Tarantino, of course, is not only about the cracking dialogue and violence and homages to other movie styles and genre but he also knows how to cast a movie. He rarely has a big film star at the helm of his films but rather relies on a mixture of known stars in supporting roles, character actors, plus fading or B-movie journeymen. Often, actors are cast on ability and suitability rather than saleability such as Pam Grier and Christophe Waltz. His keen casting eye gave us a wonderful Samuel L. Jackson – up until then limited to mainly supporting roles – and also relaunched John Travolta’s flagging career in the imperious ensemble crime film Pulp Fiction.
SHORT CUTS (1993)
Robert Altman is the “King” of the ensemble drama as demonstrated with Nashville (1975), Mash (1970 and The Player (1993). His films often poked into the American underbelly psychoanalysing the mores of the various classes. His work would have a massive influence on Paul Thomas Anderson and actors clearly considered it a badge of honour to act for him. Short Cuts was adapted from Raymond Carver’s work and the cast included: Julianne Moore, Fred Ward, Anne Archer, Jennifer Jason Leigh, Robert Downey, Jr., Madeleine Stowe, Chris Penn, Jack Lemmon, Frances McDormand, Andie MacDowell, Lily Tomlin and many more.
TINKER, TAILOR, SOLDIER, SPY (2011)
This spy thriller contains a “Who’s-Who” of British acting talent. We have Commissioner Gordon, Bane, Sherlock Holmes, King George VI, Doctor Who, Truman Capote and even Trigger from Only Fools and Horses acting in between the shadows of murky British Intelligence espionage. It’s a tricky watch as the director goes for atmosphere over exposition but the sheer style and quality of the performances ensure espionage has never been so intriguing.
Following my tribute to Ryan Gosling a while ago the second in my little paeans to cinematic people I admire is the wonderful Julianne Moore. Here I pick out seven memorable performances which make me fall in love with her over and over again.
SHORT CUTS (1993)
Moore is a versatile actor who, along with appearing in some cinematic classics, has been in some right old tosh over the years. However, SHE is ALWAYS great in EVERYTHING! She can do vulnerable. She can do funny. She can do romance. She can do sexy. She can do sweet. She can do evil. And boy can she do neurosis! My earliest memory of her was from Robert Altman’s fractured ensemble classic Short Cuts where she spends a lot of time naked from the waist down. It certainly took er… balls for Moore to take on such a role and she is a stand-out as an artist on the edge of a nervous breakdown.
BOOGIE NIGHTS (1997)
I still think this is Paul Thomas Anderson’s best film. Well, it’s my favourite of his brilliant oeuvre. I mean it takes some kind of genius to make a film about the porn industry and imbue it with heart, humour, sexuality, Oedipal tragedy and humanity without poking fun and merely relying on smut or underlying sleaziness. Moore portrays “Amber Waves” the tragic mother-figure of the porn “family” who, estranged from her own young son, provides emotional support to the young porn actors such as Rollergirl and Dirk Diggler. She is wonderful as a pained addict trying but failing to achieve a conventional lifestyle, instead finding comfort and solace with Burt Reynolds’ led dysfunctional troupe of sex actors.
THE BIG LEBOWSKI (1998)
Much has been made of Jeff Bridges wonderfully comic and laconic i.e. stoned-off-his-nut performance in the Coen Brothers’ much-adored cult classic The Big Lebowski, but the many idiosyncratic supporting characters deserve praise too. The film is a delightful patchwork of eccentricity and none more so than Moore’s Maud Lebowski – a privileged, upper class artist who seduces The Dude in a strange side-story to already hyper-convoluted kidnapping-gone-wrong-right plot. The Coens’ satirise rich artistic types via Maud as she too as uses The Dude to her own ends. Moore dominates the screen with her witty portrayal and even ends up in one of The Dude’s hallucinogenic dreams as a Viking goddess of some sort.
MAGNOLIA (1999)
Paul Thomas Anderson’s does Altman’s Short Cuts up to eleven with a modern mosaic of human dysfunction, loneliness and tragedy. It’s a difficult but compelling watch as Anderson removes the humour palette, so richly used in Boogie Nights, to present a cross-section of characters each struggling with existential and familial estrangement. Moore role is a risky one inasmuch as she is a self-confessed adulterer who married for money and only now — with her elderly husband (Jason Robards) about to die — does she feel any kind of remorse. It’s a complex character who you feel little sympathy for — even when she attempts suicide — but as car-crash humanity and drama go it’s difficult not to be drawn in by her incredible performance.
END OF THE AFFAIR (1999)
An amazing feat of literature from Graham Greene is adapted into a heart-cracking film by Neil Jordan; full of eroticism, stellar cast, lingering looks, exquisite photography and elegant Michael Nyman score. I watch a lot of films and am not often moved emotionally but the doomed love affair between Moore and Ralph Fiennes really gets my tear ducts on the go. Love is very difficult thing to get right on the silver screen but the intensity of the acting really is a thing of beauty. There’s been some amazing love stories set during wartime down the years but this has to be one of the most memorable. Moore was deservedly nominated for an Oscar but lost out to Hilary Swank.
FAR FROM HEAVEN (2002)
Todd Haynes pristine Sirkian melodrama is a honourable pastiche of 1950s films in both form, setting and content. It sees Moore wearing the skin of Cathy, a neglected American rose, who ventures into a forbidden love affair with local gardener Raymond Deagen, (Dennis Haysbert). Once again, Moore is drawn to a character who is pushed to the outside of society, her character becoming a victim of gossip and recrimination within a closely knit bigoted community. American small-town attitudes to race and sexuality are critiqued with director Todd Haynes beautifully designed colour palette and cinematography contrasting the dark subtext at work. Moore was rightly nominated for another Oscar but lost out to Nicole Kidman’s prosthetic nose.
THE KIDS ARE ALRIGHT (2010)
This was a laidback, fun kind of movie which found Julianne Moore in a relationship with Annette Bening’s obstetrician. It’s a lower-budget independent gem with a fine cast including: Mark Ruffalo, Mia Wasikowska and Josh Hutcherson. The story finds Moore and Bening’s sperm donee children searching for their father (Ruffalo) and the ensuing first world drama and “chaos” this brings. Moore’s budding landscape gardener plays a relatively sane character as she argues with the children and the more dominant Bening, before falling into bed with the more Bohemianesque character of Ruffalo. Moore ‘s character suffers a minor mid-life crisis compared to other cinematic meltdowns in her oeuvre. Nonetheless, her kind, natural, earth-mother performance is very enjoyable. Fear not though it would appear in her latest film — David Cronenberg’s Map to the Stars (2014) — finds her back on full neurotic alert as an actress flailing in the age-conscious, superficial Hollywood system.
The Cinema Fix presents 