Dir: Paul Thomas Anderson
Starring
John C. Reilly
Melora Waters
Tom Cruise
William H. Macy
Jullianne Moore
Philllip C. Hoofman
Phillip Baker Hall
Jason Robards
1999
R, 188 m
RATING: 10 out of 10
Magnolia presents to us the seemingly totally different, seperate lives of twelve people having quite a trying and tumultous day. There's a daying TV moguel (Jason Robards), his estranged son turned sex-empowerment spokesman (Tom Cruise), Robard's devastated, guilt-ridden wife (Julianne Moore), Robard's nurse/caretaker (Phillip Seymour Hoffman),a dying TV quiz show host (Phillip Baker Hall), his estranged, drug-addled daughter (Melora Waters), Hall's worrisome wife (Melinda Dillon), a brilliant quiz kid on Hall's show (Jeremy Blackman) and his overbearing father (Michael Bowen), an ex-quiz kid now living in shambles (William H. Macy), a well-meaning, prudish officer (John C. Reilly), and a rapping street kid. Their lives intersect either directly or briefly as they give confessions, show forgiveness, come to terms, and ultimately are given redemption.
As convoluted and confusing the amount of relationships may sound, Anderson skillfully balances them all and fleshes them out, making them three-dimensional characters we care about. With so many characters, one would imagine some of them are filler, throw-away roles - but in reality, all of them impact the viewer and prove to be an integral part to the entire film.
Performances in Magnolia run the gamut from poignant to heartfelt to astounding to subtle to powerful to nothing short of brilliant. Though all performances are great, there are a few that stand out. William H. Macy, as always, gives a beautiful performance as the ex-quiz kid who goes to absurd lengths to find love. Jeremy Blackman's overachieviing, unloved quiz kid is also heart-wrenchingly well portrayed. Phillip Baker Hall's seemingly wholesome game show host who himself cannot answer any questions is expertly and poignantly drawn. The real treat, however, is Tom Cruise (yes, his role is as well done as it's been touted) as the cool, hyped up sex guru who is slowly deconstructed by his past.
There is so much to enjoy about Magnolia, besides it's well-written, provactive characters: the film's cinematography is so beautifully rendered that the camera seems to be working on its own, weaving seamlessly through hallways and long shots without any cuts. It seems to reach into the characters and pull out all their vulnerabilities for the audience to see. Aimee Mann's haunted songs also add a potent touch of misery and darkness to an already unsettling script.
From its overwhelming opening ser-up accompanied by the miserable tune "One" to it's Biblical ending, it's an emotional epic that plunges the viewer into the depths of it's characters personal hells and shows that closure and redemption can be a painful but ultimately necessary part of life.
Easily one of 1999's best, most ambitious films, and ranking in my top 10 films of all time, Magnolia is an emotional tour-de-force that touts a great ensemble cast, a beautifully written script, stylish camera work, and a great soundtrack. The ending is a shocking, memorable one as well, and proves that PT Anderson is a brilliant, formidable filmmaking force to be dealt with.
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