Don't be fooled by the comparisons to Robert Altman's Short Cuts; P.T. Anderson's direction of his own wonderfully original screenplay is like nothing you've ever seen before.
The film opens with three dramatizations of chance occurrences that most people would deem as "just one of those things," or coincidences. From here, there is a cut to a beautiful unfurling magnolia accompanied by Aimee Mann's gorgeous version of Harry Nilsson's "One" (if you look closely, you can see a street sign that reads Magnolia). During the remainder of the song, Anderson introduces us to the dozen-plus main characters. We are fed only a dash of these strangers' lives, but we are instantly mesmerized. Soon, the tempo of the film slows down, and Anderson allows us to relate to the individuals of his superb cast.
In the middle of the surrounding stories lies the story of an unappreciated cop (the under-used John C. Reilly) and a coke-sniffing, self-esteemless girl (Melora Walters) falling in love. Finding love and overcoming fear of rejection are only two of the recurring themes of this film. Among the other ideas that surface are understanding when to help (rather than punish) and making amends for past mistakes.
The third act, which features the entire cast participating in an Aimee Mann sing-along of "Wise Up" and an apocalyptic wake up call from the heavens (br ush up on your Bible knowledge, Exodus 8:3), is where even some Magnolia proponents stray. In my eyes, this section demonstrates Anderson's originality to bring all the characters together through one supernatural event. Its effects are the epitome of all "coincidences."
Magnolia is truly one of the finest films I have ever seen (certainly Anderson's best). Like his previous films (Hard Eight, Boogie Nights), Anderson's Magnolia explores the importance of love and family to give an individual self-worth. As Aimee Mann's "Save Me" accompanies the conclusion of the film, we remember that we do need others to help us overcome adversity, and that we cannot make it through this life alone.
The film opens with three dramatizations of chance occurrences that most people would deem as "just one of those things," or coincidences. From here, there is a cut to a beautiful unfurling magnolia accompanied by Aimee Mann's gorgeous version of Harry Nilsson's "One" (if you look closely, you can see a street sign that reads Magnolia). During the remainder of the song, Anderson introduces us to the dozen-plus main characters. We are fed only a dash of these strangers' lives, but we are instantly mesmerized. Soon, the tempo of the film slows down, and Anderson allows us to relate to the individuals of his superb cast.
In the middle of the surrounding stories lies the story of an unappreciated cop (the under-used John C. Reilly) and a coke-sniffing, self-esteemless girl (Melora Walters) falling in love. Finding love and overcoming fear of rejection are only two of the recurring themes of this film. Among the other ideas that surface are understanding when to help (rather than punish) and making amends for past mistakes.
The third act, which features the entire cast participating in an Aimee Mann sing-along of "Wise Up" and an apocalyptic wake up call from the heavens (br ush up on your Bible knowledge, Exodus 8:3), is where even some Magnolia proponents stray. In my eyes, this section demonstrates Anderson's originality to bring all the characters together through one supernatural event. Its effects are the epitome of all "coincidences."
Magnolia is truly one of the finest films I have ever seen (certainly Anderson's best). Like his previous films (Hard Eight, Boogie Nights), Anderson's Magnolia explores the importance of love and family to give an individual self-worth. As Aimee Mann's "Save Me" accompanies the conclusion of the film, we remember that we do need others to help us overcome adversity, and that we cannot make it through this life alone.