"Magnolia" (1999)
Review by Marshall Garvey
Rating (0 to 5): 4
I approached "Magnolia" with very mixed expectations. Some, including
Roger Ebert, had proclaimed it to be a masterpiece. Others, with
director Kevin Smith being the most notable, declared it boring and
pretentious. Watching the picture, I admittedly had mixed feelings at
certain times, and the film's multi-faceted storyline doesn't quite
manage to satisfyingly fill the three-hour running time. However, I
would be lying if I were to say that I was not fascinated and compelled
by it as well. In spite of its flaws, "Magnolia" is still a very good
motion picture, with a strong script by Paul Thomas Anderson and
mesmerizing performances from nearly every single member of the
enormous cast. And even though its ambition will not ring with every
viewer, the movie presents speculations about life that are undeniably
intriguing. Altogether, these strengths make "Magnolia" highly worthy
of viewing, even though it does fall short of the "masterpiece" label
that many have placed upon it.
The film's story can basically be summed up as "Nashville" in the San
Fernando Valley. Set on a day with a forecast of "Partly cloudy, 82%
chance of rain," it follows a smorgasbord of flawed and disturbed
characters, from drug users to proudly abusive parents to
cancer-stricken fathers. Earl Partridge (Jason Robards), one of the
third category, lies on his deathbed, constantly under the care of male
nurse Phil Parma (Philip Seymour Hoffman) and drug-abusing wife Linda
(Julianne Moore). Earl's estranged son, Frank T.J. Mackey (Tom Cruise),
is a wildly popular sex advisor who is applauded reverentially at his
seminars (in his introduction, he appears from the darkness as "Also
Sprach Zarathustra" crescendos). Jimmy Gator (Philip Baker Hall) is the
host of the long-running and successful game show "What Do Kids Know?,"
although his life is now shortened by cancer. Jimmy's estranged
daughter, Claudia (Melora Walters), is a lonely crack addict who
eventually crosses paths with lonely police officer Jim Kurring (John
C. Reilly), a man desperately seeking someone to share his life with.
"Quiz Kid" Donnie Smith (William H. Macy) was once a popular fixture on
Jimmy's show, and is now a washed-up loser looking for a job. He set a
record that is on the verge of being broken by child genius Stanley
Spector (Jeremy Blackman), who is being used by his abusive father
(Michael Bowen) to earn money.
As the film unfolds, the paths of the characters become intertwined as
their stories deepen. In the end, it all boils down to an indelible-and
amphibious-ending that leaves one scratching his or her head for a
long, long time.
The sprawling plot of "Magnolia" is certainly a risky undertaking,
given that it is so lengthy and tackles numerous themes regarding life
and its difficulties and interconnections. This ambition serves the
film both rightly and wrongly at times, for while it succeeds as a
whole, it does have some problems in trying to cover the lives of the
characters. The greatest flaw is the pacing, which is uneven and
sometimes frustratingly inconsistent. There are a few instances when
the picture spends a significant amount of time on one story, and then
attempts to revive itself by returning to the others. Such a way of
storytelling eventually becomes a bit tedious, which isn't helped by
the three-hour running length. At times I couldn't help but think of
how the structure worked better in Robert Altman's "Nashville," which
was a half-hour shorter and moved fluently while dealing with 24
characters as opposed to this film's nine (for the record, I have
currently not seen Altman's "Short Cuts," which would likely make for a
better comparison since it is also set in southern CA and even features
Julianne Moore in its cast as well).
All the same, though, "Magnolia" is often compelling in spite of its
unevenness, and writer-director Paul Thomas Anderson brings out the
best of the most gripping parts. All in all, he does a highly
respectable job in crafting his film, and his Oscar-nominated script is
likely a worthy read all its own. Anderson does show some notable
directorial skill, and appropriately develops his story and characters
with plenty of long pans, intense close-ups, and continuous takes. From
the beginning to the very end, he shows not a shred of reservation in
pushing forward with his bold statements and storytelling methods. He
also achieves much staying power, and no matter what your stance on the
film's quality may ultimately be, don't be surprised if you find
yourself combing through its meaning for hours.
The true strength of "Magnolia" is its outstanding and emotionally
gripping cast. To pick the greatest is certainly difficult, although my
vote would have to go to Tom Cruise (who received an Academy
nomination) as the ecstatic and endlessly haunted Frank Mackey. Cruise
brings a vibrant energy to the role, and his seminars are endlessly
entertaining (there is, of course, a scene in his underwear for the
ladies). John C. Reilly is the most accessible of the cast, and is so
fragile that his performance reaches levels of true emotional
intensity. Julianne Moore and Melora Walters are convincing as drug
addicts, with such rawness that one can't help but feel devastated
while watching them break down as a result of their endless abuse.
Philip Seymour Hoffman, who rightfully seems to be on everyone's list
of favorite supporting actors, is wonderful as the male nurse who seeks
to reconnect Earl and Frank. Philip Baker Hall gives an indelible turn
as Jimmy Gator, who is clearly dying even when reading the question
cards. William H. Macy is also solid as the miserable former child star
Donnie, with such endless sorrow you can't help but feel sorry for him.
In a classy bit of tribute casting, Henry Gibson (who starred as a
country king in "Nashville") even appears in a memorable cameo as a
bizarre and loving bar patron.
Great as the cast is altogether, however, there is one lacking
performer. That is Jason Robards, whose portrayal of the ailing Earl
Partridge is far from bad but not quite worthy of the substantial
attention it's given in the story. As his last film performance, it's
also very disappointing, especially with some of his more memorable
turns in mind. Here, he is simply given too many monologues, which he
sloppily spews as if he's chewing gravel in his mouth. True, his
character is dying of lung cancer, and his speech would therefore not
be crystal clear. Still, I couldn't help but feel bored and lost as I
tried to care about what he was saying.
It is perhaps obligatory that when one reviews "Magnolia," one must
state what he or she thought of the frogs. While watching, I knew of
their biblical significance, which I didn't care for. However, I did
find the raining amphibians to be extremely entertaining, so I must
admit that I did love them. Furthermore, if you have grown weary of the
film's length by then, their entry will certainly wake you up.
Thinking about "Magnolia," I sometimes wonder if a second viewing might
deepen my appreciation of it. James Berardinelli, one of my favorite
critics, stated that he liked it when it first came out, although it
didn't make his top ten of 1999 list. After four or five viewings on
video, he found it to be so much better that he placed it on his
all-time top 100 list. Indeed, the film is so intricately layered that
there is certainly much one will miss during the first viewing.
However, I can't quite say that I'd willingly see it again, since its
length did aggravate me. All the same, I do recommend "Magnolia" to
anyone who is curious enough to uncover its depth, and the performances
are not to be missed by those who love ensemble casts.
Rating key:
*****-A masterpiece of filmmaking that should be seen at all costs.
Kill for a ticket or copy if you must.
****1/2-Outstanding. Don't miss it.
****-Excellent show. Be sure to catch it.
***1/2-A good film. You don't have to rush to see it, but it's worth
viewing.
***-A decent movie. Good for a rainy day.
**1/2-Just plain average.
**-Pretty lame. It'll fade from memory as you drive home from the
theater.
*1/2-Bad. Just skip it.
*-Simply awful, and worthy of a refund.
1/2-Boycott it.
0-Life will seem shorter and less joyful.
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