Magnolia Review
by Marshall Garvey (hunter48 AT goodpeopleunite DOT com)April 26th, 2005
"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.
Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
