This week the world of cinema lost a true professional, Philip Seymour Hoffman a man that left us to early. For me without this man I would never of watched The Big Lebowski or Boogie Nights. This may sound silly but after I saw him in Along Came Polly, I had to see him in different films. For the last ten years I have watched him flourish to the star he was. Addiction is a terrible thing, but he is at peace now. His memory will live on in his great films.
I dedicate this review to his memory
Cert: 18 Runtime: 155 mins Director: Paul Thomas Anderson Cast: Mark Wahlberg, Julianne Moore, Burt Reynolds, John C.Reilly, Heather Graham, Don Cheadle and Philip Seymour Hoffman
We’re about to make film history, right here… on videotape
Paul Thomas Anderson and Philip Seymour Hoffman went hand in hand, he made films 90% Hoffman would be in it. Boogie Night was one of the first I ever saw and bar There Will Be Blood is my favourite. So what is Boogie Nights? Eddie Adams (Mark Wahlberg), a young man working in a nightclub, is discovered by porn director Jack Horner (Burt Reynolds), who soon puts Eddie, renamed Dirk Diggler, and his “talent” on the top of the pornography industry. But when the 1980s arrive, Dirk and his colleagues in the porn industry have to cope with a new era as well as the baggage they bring with them from the 1970s.At the heart of Boogie Nights is a group of people that are so cavalier and nonchalant about sex. Julianne Moore has an intensely maternal love for Dirk Diggler yet has no qualms at all about having sex with him repeatedly for a film. They are totally nonchalant about private parts. At one point, for instance, Robert Ridgley asks Wahlberg if he can see his cock, Wahlberg shows him, and Ridgley thanks him. They are extremely careless with drugs. What is uncanny about writer-director Paul Thomas Anderson’s story is how he portrays a group of people so casual and detached regarding these things that they are cavalier and nonchalant when it is simply amiss to be so, specifically. Macy and his porn star wife constantly humiliates him by frequently having sex with muscular younger men in public places, or when a woman OD’s on a guy at a party and everyone but the guy is calm and matter-of-fact about taking care of the situation.
In terms of Dirk Diggler’s character, Anderson reflects the very intimate and fragile male issue of the fear of impotence by constructing a major character stumbling block out of it. As Diggler grows more and more addicted to cocaine, he finds it more and more difficult to achieve an erection when he needs to, winding up internalizing this panic and frustration and beginning the crumbling of a big house of cards. Anderson has the confidence and humility to portray this obstacle under an inevitable magnifying lens, as Diggler’s “one special thing” is his thirteen-inch penis.The most resonant talent that Anderson shows specifically as a director is that the film is high brow in terms of production values and the effect and quality of the story and the acting, but it is essentially a movie about a guy’s amazing penis, and the film offers hilariously crude sex humor and pitch-perfect individual degrees of stupidity in the characters, and in the uncanny depiction of terrible quality in the porn films within the film.Paul Thomas Anderson’s films are mysterious wonders, because each of them, in their own respective ways, is about so many things. Boogie Nights is a period piece about the porn business. It’s about a group of people that coagulate like the hierarchy of a large family through the years.
It’s about a dense young man whose penis leads him to stardom and leads him into a lot of trouble. It’s about the control of less intelligent, less sensitive people over the compliant intelligent and sensitive ones.It’s about fate and coincidence. The pleasures and dangers of sex and drugs. The id of the 1970s and ’80s. Everything about this dynamite stick of talent is grippingly unanticipated.Not many films have been more blunt, even disillusioned, concerning sexuality. Porn movies are a business to these people, not a distraction, and one of the charms of this period entertainment industry drama is the manner in which it showcases the day-by-day behind- the-scenes routine life of pornographers. The range and diversity is reminiscent of films by one of Anderson’s biggest influences, Robert Altman, but there is also some of the consistent charm of low-budget breakthrough films of the 1990s, in scenes that stay poised riskily flanked by hilarity and graphic violence. Throughout all the characters and drama, Anderson’s script focuses on the emotional facets of them. Boogie Nights has the value of most of the great movies, in that it is constantly buzzing and animated.