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Paul Thomas Anderson constructed his largest and most complex canvas with Magnolia, a scorching 1999 drama that takes an on-target look at forgiveness, redemption, and letting go of the past through the eyes of two families with dying matriarchs.
Anderson has mounted a story where storyline threads have paper thin connections but viewer patience will provide pleasant surprises for those who pay attention. We are introduced to Earl Partridge (Jason Robards), a dying man whose only connection to reality is his male nurse (Phillip Seymour Hoffman) who keeps his younger bride (Julianne Moore) apprised of his condition while she agonizes in guilt over her treatment of him.
Phillip Baker Hall is a game show host whose condition concerns his wife (Melinda Dillon), but his junkie daughter (Melora Hardin) not so much. We also see a secondary thread here between one of the game show contestants (Jeremy Blackman) who cracks under the pressure and a former game show quiz kid (William H. Macy) who can't put the past in its correct perspective.
We also meet JT Mackey (Tom Cruise), a charismatic motivational speaker who has become a celebrity through his beyond sexist treatment of women and the reveal of his patriarchal connection that has made JT the man he is.
Thomas has created a riveting story that strains credibility near the end, but, as always, we are drawn by the amazing performances Anderson always manages to draw from his rep company, especially Moore, Hoffman, and especially Cruise, in the film that should have earned him his first Oscar. Cruise has never commanded the screen the way he did here.
A triumph for Anderson and a challenge for the viewer looking for something different.
Anderson has mounted a story where storyline threads have paper thin connections but viewer patience will provide pleasant surprises for those who pay attention. We are introduced to Earl Partridge (Jason Robards), a dying man whose only connection to reality is his male nurse (Phillip Seymour Hoffman) who keeps his younger bride (Julianne Moore) apprised of his condition while she agonizes in guilt over her treatment of him.
Phillip Baker Hall is a game show host whose condition concerns his wife (Melinda Dillon), but his junkie daughter (Melora Hardin) not so much. We also see a secondary thread here between one of the game show contestants (Jeremy Blackman) who cracks under the pressure and a former game show quiz kid (William H. Macy) who can't put the past in its correct perspective.
We also meet JT Mackey (Tom Cruise), a charismatic motivational speaker who has become a celebrity through his beyond sexist treatment of women and the reveal of his patriarchal connection that has made JT the man he is.
Thomas has created a riveting story that strains credibility near the end, but, as always, we are drawn by the amazing performances Anderson always manages to draw from his rep company, especially Moore, Hoffman, and especially Cruise, in the film that should have earned him his first Oscar. Cruise has never commanded the screen the way he did here.
A triumph for Anderson and a challenge for the viewer looking for something different.