Anderson's Exodus A commentary on Paul Thomas Anderson's Magnolia by Jason Coe 3/2002

FROGS FALLING FROM THE SKY. Even though this alone would justify a trip to the video store to rent Magnolia, there is much more to Paul Thomas Anderson's tribute to the ennobled creator. In the documentary about the film, Anderson stresses that though there are nine main characters, this is one story-one story that ultimately links nine lonely people in the section of Los Angeles from which the movie derives its name. Fittingly, as the fast-paced shooting tracks through a short glimpse of every character's life, Aimee Mann sings her version of "One". And what one learns from this montage of characters linked inexorably to each other, is the ultimate sense that every one of these people is suffering and dealing in his/her own way. The crowd favorite, Frank TJ Mackey, played by Tom Cruise, is the star of an infomercial called "Seduce and Destroy". Mackey specializes in teaching unfortunate males how to beguile women into fornicating with them, while echoing his life philosophy, "In this big game we play, life, it's not what you hope for, it's not what you deserve, it's what you take!" He is contrasted with Jim, played phenomenally by John C. Reily, the pathetic cop who talks to himself in his car and partakes in dating services. This introduction is short and stylized, like water flowing in a river as the camera goes where the current takes it.       The central theme of this film is the measure of coincidence in life. As the ubiquitous narrator states in the strange prologue, "this is not just one of those things that happen." Anderson expects every viewer to understand that every shot in this film has purpose. It is not coincidence that the entire film is littered with the two numbers eight and two. We learn later on from a well-placed sign that he means Exodus 8:2, cited conveniently here for your enlightenment; "And if thou refuse to let them go, behold, I will smite all thy borders with frogs." Yes, for all of those questioning Anderson's sanity, there is a point to frogs falling from the sky. Essentially, in Anderson's world these strange coincidences are acts of God, and the great one himself has something special planned for every character in this film and, including a maelstrom of special little critters. Each character must journey through his/her own personal exodus and find God once again, through the help of some very special children whom we know can be confused with angels.       Everyone is a sinner in Magnolia, from the well-meaning but hubris filled cop to the seducer of women Frank TJ Mackey, but Anderson is not trying to castigate anyone. If anything, Anderson is lecturing those who perpetuate their own loneliness by refusing to create real lasting bonds with others, or destroying those bonds that are in place (parent with child, husband with wife). In refusing to admit or relieve themselves of these sins, each character is blocking these lasting relationships. Only through a slimy catharsis, an emotional explosion, and a strange music video for Aimee Mann's "Wise Up" these characters find the Holy Land-or lose it. Magnolia is about the chance to make things right. The recurring line of the movie is, "And the book says we may be through with the past, but the past is not through with us." Neither is God for that matter. Even if the presence of God is somewhat shrouded and for many never realized (his words uttered in the rap of a grade schooler, how great is that!). Anderson has great courage in giving each character an emotional depth that is rare in film today. The ambiguity of the human experience shown as a concurrent love and hatred exemplifies Anderson's maturity as a filmmaker who doesn't just attempt to manipulate the feelings of his audience.       With stellar acting performances by its cast, and a plot line as strange and coincidental as life itself, Magnolia is a fantastic follow up to Anderson's Boogie Nights. Magnolia is not one of those films where the director gags the viewer with the ultimate meaning of the movie. This film has universal themes commenting on what binds everyone together, but everyone has to figure that out on their own.

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