One rule makes life seem simple: those who take the most substantial risks reap the biggest rewards, but those who venture and fail can ruin their lives.
While all facets of life fall under the umbrella of this edict, movie-making is a perfect example of how risking everything can result in both masterpieces and drivel. Director Kevin Costner probably understands this better than anyone -- except Paul Thomas Anderson, the director of the impressive "Boogie Nights" and the new, three-hour long "Magnolia."
The complex world of "Magnolia" revolves around a street in southern California by the same name where television producer Earl Partridge (Jason Robards) lives. Cancer-ridden and dying, his wife Linda (Julianne Moore) married him only for money years ago and is filled with guilt.
Earl's estranged son, Frank T.J. Mackey (Tom Cruise), drives the "Seduce and Destroy" franchise and assists emotionally impotent men in their search for sexual pleasure. Meanwhile, Earl's nurse Phil Parma (Philip Seymour Hoffman) tries to reunite the two.
Jimmy Gator (Philip Baker Hall), the host of Earl's television show "What Do Kids Know?", also has terminal cancer and a daughter named Claudia (Melora Walters), who is a cocaine addict.
Those adding to the story include Jim Kurring (John C. Reilly), a desperate and ineffectual police officer looking for affection from Claudia; Stanley Spector (Jeremy Blackman), a kid-genius contestant on Earl's quiz show with a neglecting father (Michael Bowen); Donnie Smith (William H. Macy), a sexually confused former quiz show star with no self-confidence; and Rose (Melinda Dillon), Jimmy's unfulfilled wife.
Simply from the list of characters, it's easy to see that Anderson tried for excess with "Magnolia" and took the unapologetically broad "Boogie Nights" even a step farther. Miraculously, it works.
Audiences can see this self-confidence through Jon Brion's omnipresent score, carefully chosen songs by Aimee Mann, overlapping character narration and Anderson's innovative directing that includes many quick cuts, extreme close-ups and visual background clues that foreshadow the future of characters.
And unlike Tim Robbins's work in his recent, disappointing "Cradle Will Rock," Anderson's prominent visual and aural style never feels intrusively manipulative, emotionally false or out of place. Even the film's surreal sequence involving separated characters singing one of Mann's songs feels appropriate instead of heavy-handed.
An exceptional collection of talented actors also sustains the film's boldness. Tom Cruise certainly tops his "Eyes Wide Shut" performance and could collect an Oscar for his wrenching portrayal of a sexually charged but psychologically damaged Anthony Robbins (of infomercial fame).
Robards's performance taps deep into everyone's fear of his past and reminds us that we should think twice before disobeying our conscience.
In addition, Julianne Moore proves that she can connect with an audience so passionately that viewers will both loathe, admire and pity her simultaneously.
Even though the film hits the three-hour mark, it never slows down because Anderson indiscriminately vaults ahead, giving each character an equal amount of screen-time while never staying with one story line for more than a few minutes. By the time a viewer could become bored with a scene, Anderson's script employs a new character, a new scene and like "Boogie Nights," more perfectly manifest dialogue.
The multitude of topics that "Magnolia" covers is so broad that trying to discuss the entire film in a short newspaper review is futile. However, one of the film's most interesting aspects is its exploration of risk-taking, regret and the self-reflexivity found within. Even more clever is the way that the movie's themes interlock like pieces of an immense psychological jigsaw puzzle.
Finally, unlike the witty "Two Days in the Valley" -- which also follows the adventures of many interconnected characters in southern California -- "Magnolia" does not end with a crescendo of colliding characters. Instead, Anderson climaxes with probably the most outrageous ending possible for his film. Only in Anderson's film could such a feat be considered appropriate.
Regardless, it certainly took courage to film such a finale and daring script. The fact that Anderson wrote this emotionally raw and universal script alone seems astounding -- but maybe it shouldn't.
His creation of the three-hour, post-postmodern "Magnolia" reveals that like his characters, Anderson is willing to take career-threatening risks, in hopes of constructing a masterpiece. Fortunately, contrary to his characters, Anderson has nothing to regret.
