[CRITICAL] PUNCH-DRUNK LOVE

With his fourth film, Paul Thomas Anderson creates the surprise by discussing the genre of the romantic comedy. This is a register in which it wasn’t expected.

The director of california marks a turning point in his career by daring to confront, for the first time in this kind stereotyped-that is comedy (with talent of course), and directs the actors with whom he has not the habit of turn, apart from Philip Seymour Hoffman, who makes progress as. With a comfortable budget of $ 25 million, Punch-Drunk Love , however, does nothing of the american comedy classic, she brings even more of the movie copyright.

A real break in his filmography, with PUNCH-DRUNK LOVE , Anderson abandons the movie chorale and focuses on a story more simple and less cluttered. And it feels in the long term. It is far from the 3h04 challenging (but fabulous) of Magnolia. With its 1h37, the filmmaker shapes a more condensed and more sincere, where emotions can finally take place. A breath of fresh air, invigorating and neat. Featuring the violence, the imprisonment, the characters of the unfortunate, injured, or lonely, Paul Thomas Anderson never deviates, all the same, not of his preferred themes. But, he distils sparingly. The story focuses on Barry, a thirty-year-old shy and complexed, spending most of his time collecting the vouchers of a brand of pudding. Since its more tender childhood, he suffocates under the weight of its seven leeches from the sisters, so that he never could make his life, or falling in love. Until one day one of them he arranges an appointment with a troubling young woman prénommant Lena…

If Hard Eight was on the small thugs playing at black-jack, Boogie Nights in the middle of pornography, Magnolia fate of the characters “unhealthy” or solitary, PUNCH-DRUNK LOVE is an ode to optimism. The mysterious harmonium, the love, the desire to escape make this film a ballad poetic oscillating between aggressiveness, madness and delicacy. If we compare with her previous works, this gem of a film is more sweet, more radiant. Even if in the air of the warehouse, flat a scent of pessimism, the staging, raw and the image, pulling on the blue prepare finesse this love story emerging, in a world disenchanted.

“Even if in the air of the warehouse, flat a scent of pessimism, the staging, raw and the image, pulling on the blue prepare finesse this love story emerging, in a world disenchanted.”

Set aside your a priori on Adam Sandler ! The time of this film in the least… Creates tailor-made, the role of Barry fits him like a glove (not like his blue suit poorly cut, it is heading to wear). Inspired, no doubt, of Playtime by Jacques Tati, the filmmaker manages to metamorphose the actor roles, clumsy, comical depressed, and sophisticated. Liar, clumsy, Barry suffers from his inexperience and his fear of communicating. In the Face of these scenes, the viewer is to be as uncomfortable as him, his personality shifted fact a smile. Trade with Emily Watson (as Lena) are harmonious, and the story between these two people is endearing.

Filmed mostly in wide shot, Barry is lost in a decor dehumanized : the warehouse, the long corridors, the shelves of the supermarket. Paul Thomas Anderson plays the card of minimalism with a scene less remarkable. While it was used to the gentle movements, the tracking shots here are steep. However, the scarcity of comedies also well made. Coast BO, still nothing to complain about. Effective ! It signed Jon Brion is no exception. In the midst of this fresco echo this sheathe melodious “He needs me, he needs me, he needs me…” fredonnée by Shelley Duvall. Anything to add a little more magic to this loving chronicle of awkward, but wonderful. If some are annoyed by the style, no one will contradict the talent of the filmmaker. PUNCH-DRUNK LOVE is a true fairy tale. Atypical, certainly.

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