Talking To The Screen
Punch Drunk Love :2002
I've described Paul Thomas Anderson's movies, in conversation, as ?bad, but worth seeing?. I stand by this judgment of 'Boogie Nights' and 'Magnolia'. Anderson, in those, his first two films, made two nearly amazing pictures. His biggest fault was not knowing where to quit. Each of them was an hour too long. But there was enough promise of good things to come, that I rooted for him. I anxiously awaited 'Punch Drunk Love', his latest project. I wanted this bright eyed newcomer to succeed, to wow me with his vision. There were glimpses of greatness in 'Boogie Nights' and 'Magnolia', could our hero put it together for 'Punch Drunk Love'?
'Punch Drunk Love' is a simple love story. Lena Leonard, played by the consistently endearing, Emily Watson, sees a picture of Barry Egan from a co-worker, one of Barry's seven sisters and asks her to arrange a date. Barry and Lena, then, very calmly proceed to fall in love.
There are two plot elements that drive the story and add a notion of ridiculousness typically reserved to Coen Brothers' films. First of all, the character of Barry Egan is as far fetched as he is endearing. He is timid to a fault. Non-confrontational to the utmost. But beneath Barry's terrified exterior is a violent rage, apparently fueled by frustration of his ineffectualness. Barry is an intriguing character, brought into living technicolor exquisitely by Adam Sandler. Sandler's career had previously been resigned to very funny, but decidedly base comedies. While Barry Egan has traces of Bobby Boucher from Waterboy, the sensitivity that Sandler instills in Barry is what makes the love story so engaging. Secondly, before meeting Lena, Barry on a lonely night, calls a phone sex number. It turns out, however, that the phone service is part of an extortion scheme run by Mormons to ?punish perverts?, and make a buck or two. Barry's troubles with the Mormon faction is a wonderfully weird source of conflict in an otherwise simple narrative. They carry none-to-subtle echoes of the nihilists from 'Big Lebowski'.
'Punch Drunk Love' is definitely P.T. Anderson's finest movie to date. However, I would have liked to see him hone the style of narrative he had developed in his first two pictures. As it is, the film plays as very derivative of the Coen Brothers. Quirky protagonists shockingly, but always exquisitely cast. Absurd coincidences to drive the narrative. A charming sense of humor based on wit and irony. These three are all but trademarks of Coen Brothers films. They are also integral components of 'Punch Drunk Love'.
P.T. Anderson was heralded as America's next great auter. One would have hoped for a more unique style from one with such hyperbolic billing. Regardless, 'Punch Drunk Love' remains a delightful film, and worth watching.
'Punch Drunk Love' is a simple love story. Lena Leonard, played by the consistently endearing, Emily Watson, sees a picture of Barry Egan from a co-worker, one of Barry's seven sisters and asks her to arrange a date. Barry and Lena, then, very calmly proceed to fall in love.
There are two plot elements that drive the story and add a notion of ridiculousness typically reserved to Coen Brothers' films. First of all, the character of Barry Egan is as far fetched as he is endearing. He is timid to a fault. Non-confrontational to the utmost. But beneath Barry's terrified exterior is a violent rage, apparently fueled by frustration of his ineffectualness. Barry is an intriguing character, brought into living technicolor exquisitely by Adam Sandler. Sandler's career had previously been resigned to very funny, but decidedly base comedies. While Barry Egan has traces of Bobby Boucher from Waterboy, the sensitivity that Sandler instills in Barry is what makes the love story so engaging. Secondly, before meeting Lena, Barry on a lonely night, calls a phone sex number. It turns out, however, that the phone service is part of an extortion scheme run by Mormons to ?punish perverts?, and make a buck or two. Barry's troubles with the Mormon faction is a wonderfully weird source of conflict in an otherwise simple narrative. They carry none-to-subtle echoes of the nihilists from 'Big Lebowski'.
'Punch Drunk Love' is definitely P.T. Anderson's finest movie to date. However, I would have liked to see him hone the style of narrative he had developed in his first two pictures. As it is, the film plays as very derivative of the Coen Brothers. Quirky protagonists shockingly, but always exquisitely cast. Absurd coincidences to drive the narrative. A charming sense of humor based on wit and irony. These three are all but trademarks of Coen Brothers films. They are also integral components of 'Punch Drunk Love'.
P.T. Anderson was heralded as America's next great auter. One would have hoped for a more unique style from one with such hyperbolic billing. Regardless, 'Punch Drunk Love' remains a delightful film, and worth watching.