Review: Boogie Nights

3/4

I don't know about this film. Some of it is genius. Some of it is signature Paul Thomas Anderson. Some of it is depressingly misdirected. Some of it is brilliantly energetic. Some of it is shocking. Little of it is predictable.
Boogie Nights came two years before Magnolia. It has many similarities. About ten ensemble actors are shared, and cinematography, tone, and the role of music have a similar style in each. The stylization is probably the best thing about this movie. Paul Thomas Anderson is the best director of the modern era, and possibly the best writer. His movies defy convention in every sort of way. In his sophomore effort, however, that's not entirely a good thing. Though the unconventionality can feel beautiful, like a rush of fresh air, at times it seems lost or confused. The last quarter of the film, save for the final few minutes, is definitely lost. There must always be a pressure on the writer to put the protagonist through loss and grief in the middle section, but here that is too long and confusing. What I say is, Anderson hadn't yet perfected his writing style. There's no depressing middle section in There Will Be Blood, and I don't think there is in Magnolia or Punch-Drunk Love or The Master. What we see here is a brilliantly talented young writer and director getting his footing in the real world, gaining confidence, learning to be himself. Not fully matured.
The first half is amazing. I have to say it--I love Marky Mark. In that first half he is an explosion of talent and energy. And what an AWESOME gimmick, to give him what he has. It's a hilarious idea. The final scene is one of the greatest gimmicks I've seen in the movies. Just the idea that it is revealed to us what we thought would never be revealed.
Another terrific gimmick is the one involving William H. Macy. Superbly original.
It's an idea-based film--the comedy lies in the concepts. If one can come to appreciate--more importantly, enjoy--that, one will love this movie. I think that I would like it more upon a second viewing for that reason.

I am sorry for the lack of a great Philip Seymour Hoffman role. I really thought there would be one... but I hardly noticed he was there. If I watched it again I would make sure to savor his every facial expression, every tonal flair--his very presence. He is a beautiful actor. Here and in Magnolia, as his young self, with Anderson directing him, he is the most beautiful he ever was.