Boogie Nights

As I’ve mentioned before, I find it very powerful when a director is able to make several unrelated films, and yet keep his style so defined that they almost seem identical. One of these directors is Tim Burton, with his dark, gothic themed fairytales. However, I’m speaking of a different director, a man who has only created a handful of films in his tenure as a writer/director. I am speaking about Paul Thomas Anderson. His past hits include Punch Drunk Love, and Magnolia. But today I am focusing on his 1997 hit film Boogie Nights.

Imagine you’re in the 70s and you’ve been gifted one very special thing, one very special body part with great length. During the rise of the porn industry, Eddie Adams (Mark Wahlberg) is pulled from his suburban life into the dark world of adult films and drugs. His decision to join the industry leads him to parties, drugs, and endless sex. He is immersed in the world that exists under the eyes of the general public. But how do these great stars of the industry adapt when the trend turns to video, and away from film?

One of the greatest accomplishments that P.T. Anderson is able to do is create a world so intertwined we don’t even realize most of the levels and connections Much like his later film Magnolia, this film plays heavily on the relationships that exist between the people, and less-so on the plot. Though the story takes us over a span of nearly 20 years, we are told to focus our efforts on the people and their stories, rather than the grander picture. Carried by an excellent cast, this feat seems easily accomplished.

Speaking directly of P.T. Anderson, I personally enjoy directors that are able to work with the same group of people and develop entirely different characters based on the script. Anderson brings together such stars as Mark Wahlberg, Burt Reynolds, John C. Reilly (Magnolia), Julianne Moore (Magnolia), Heather Graham, Don Cheadle, Luis Guzman (Magnolia), Philip Seymour Hoffman (Magnolia), William H. Macy (Magnolia), and Philip Baker Hall (Magnolia) together to paint a picture collage of a realm of popularity, fame and sex. I find it professionally strong when a director can work with such a large cast to produce a diverse set of characters over and over again. Though this was his first large film using such a powerful cast, he was able to craft their actions and their expression to paint a picture almost too layered.

Lastly, as is well demonstrated in this film, P.T. Anderson is able to define the word ‘climax’ with his films. Much like a Sigur Ros song, it seems the build up lasts for 90 minutes. Coupled together with a minimalist, yet powerful score, we are entirely aware of the complete breakdown of the structure the characters had become used to. Just as in Magnolia, we are taken through the best of times, and brought to the epoch of the downfall.

And as serious as this film is, it has a humorous side that makes the audience smile, and remembers that we’re all still humans bumbling around in this world, back and forth, off one another in a constant struggle to survive. It’s a human study film, with a pazzaz, a smile and a dropped jaw. It’s what I would call ‘classic P.T’ If you’ve not had the chance to check it out, or Magnolia, I’d suggest it. Both are a bit long, and require a bit of concentration, but both have quite a bit of payoff. Check it out! 7.6 of 10.