Thanks to a vicious head cold, I left work early on Friday and spent the next, say, 53 hours on my couch or on my bed, consuming a steady diet of chicken broth, television, Sudafed, and movies. The movies were especially enjoyable; I watched three, all connected in a way, and they gave me my first taste of Paul Thomas Anderson films.
Early this summer, I listened to Marc Maron’s WTF interview with Anderson, which was released in January of this year when he was promoting Inherent Vice. At the time I was intrigued by Inherent Vice (still haven’t seen it) and as far as Anderson’s works go, had only seen part of The Master. But the interview was fascinating. Anderson seemed cool, smart, and thoughtful, and was really open about his movies, his process and his inspirations.
My first Anderson movie of the weekend was Magnolia. I wish I could remember the first time I heard of Magnolia but I can’t; I’m guessing it was on Jason Robards’ Wikipedia page. I remember thinking, though, that I had never even heard of this movie, yet Ebert named it to his “Great Movies” list, and it featured tons of actors I love, and it was Robards’ last film. Those all felt like reasons to see it someday.
I can’t say I am putting it on my personal Top 10, but there was something about Magnolia I really appreciated. It was different from any movie I’ve ever seen, and it was a story told honestly. The characters – and in turn, the performances – are great. It’s interesting to watch with hindsight and know it was Robards’ final role. Honestly, I probably need to process it more before I make any serious judgments or interpretations, but I at least like knowing that I have finally seen this film.
One of the great performances in Magnolia is by Philip Baker Hall, and he inspired my next movie choice: Anderson’s first feature, Hard Eight. Hall stars in it. In his first scene in Magnolia, I wasn’t sure who he was, but his voice instantly caught me. He has a great voice; fitting for his character, who’s a TV game show host. I searched his name and remembered Anderson talking about him in the Maron podcast. He knew after seeing him in Secret Honor (spoiler alert: the third movie I watched this weekend) that he loved him as an actor and wanted to write something for him.
Like Magnolia, this one is all about the characters. Sydney, Hall’s character, is magnetic. You wonder about him, and root for him, and love listening to him talk. I think he’s especially great in scenes opposite Gwyneth Paltrow, who’s fantastic in this movie as a waitress at a casino Sydney frequents.
Hard Eight contained a whole bunch of elements I am prone to love – fabulous characters and performances, a plot that is about something but the movie’s not really about that, lights (the fact that I love cool use of lights in movies actually dawned on me during this film; like Michael Keaton walking into the liquor store in Birdman, and The Big Lebowski‘s bowling alley stars – in Hard Eight I loved the glimmer of slot machines), and music that fit perfectly. And, the dialogue – John C. Reilly especially had some lines that made his character clear to me. “I know three types of karate, ok? Jiu-jitsu, Akido, and regular karate.”
And the last movie, Secret Honor. It’s a Robert Altman movie from 1984, with Philip Baker Hall in a solo performance as Richard Nixon. I mean, come on! It’s the movie Anderson mentioned as one in which he saw Hall and knew he was for him. He had to make something for him, and he wrote the Sydney character in Hard Eight specifically with him in mind.
Secret Honor is Hall, as Nixon, walking around his study, drinking scotch, ranting about everything from JFK to Kissinger to his mother. It’s wacky. Hall gives an incredible performance, and not just because he carries a 90-minute one man show and keeps it interesting the whole time. From what I’ve read about Nixon, he gets the mannerisms down perfectly; one moment early on, he pours a glass of scotch, but starts walking off with the bottle instead of the glass, absentmindedly. That’s one small example, but it showed he knew the character.
Perhaps my favorite part of the film – or rather, the overarching reason I found it so fascinating – was a screen before the title, a disclaimer of sorts, explaining the film did not depict an actual scene from Nixon’s life, but was “a work of fiction, using as a fictional character a real person, President Richard M. Nixon – in an attempt to understand.” The film doesn’t spare Nixon, exactly, but it comes from a sympathetic place. Altman and the writers didn’t make anything up in an attempt to indict Nixon; they just wanted to understand him better, and this film and this performance seem an appropriate way to do so.
Magnolia, Hard Eight, and Secret Honor – I recommend them all. And hope you watch them in good health.