P. T. Anderson has a very unusual and distinct style which has created a hallmark for the type of storytelling and visual spectacle he engages in. Some films it seems like he is the perfect torchbearer for Stanley Kubrick, engaging in long drawn out shots and showcasing non-conformist relationships. And then there are strange outliers like this film.
Having finally seen it after 20 years, it's hard to really gauge what Anderson was aiming for. Much like David Fincher needed a massive departure from Seven, The Game and Fight Club when he made Panic Room, Anderson went rogue as well after three consecutive films which showcased a certain style in Hard Eight, Boogie Nights and Magnolia. Rather than long and drawn out scenes of coherent and well placed dialogue, this film is one chaotic scattershot of Robert Altman dialogue scenes and long experimental "in the moment" shot composition. It's seems like little planning was put into the film and everything was shot on the fly, but it all makes sense.
Barry Egan is chaotic neutral, triggered by his bullying sisters and lashes out frequently, yet can't admit to his problems. Hence, the oddly shot and cobbled together scenes of the first half of the movie reflect who he truly is. Jon Brion's score reflects this mood, taking on some cues from Damon Albarn's Ravenous score. It is not until he meets Lena Leonard when the film stabilizes, indicating his mood evening out in addition to being more truthful about who he is. While the film finalizes rather abruptly, we get the idea the world is about to be more calm for Egan.
I won't say this is a perfect film, but it was certainly a necessary reset for Anderson. Much like Licorice Pizza (to rather poor results) made us long for his dark period pieces, Punch-Drunk Love allowed us to reset the expectations that allowed Anderson to seek out new avenues and thus, present the world with some of his best work.
Either way, an interesting and chaotic film.
Having finally seen it after 20 years, it's hard to really gauge what Anderson was aiming for. Much like David Fincher needed a massive departure from Seven, The Game and Fight Club when he made Panic Room, Anderson went rogue as well after three consecutive films which showcased a certain style in Hard Eight, Boogie Nights and Magnolia. Rather than long and drawn out scenes of coherent and well placed dialogue, this film is one chaotic scattershot of Robert Altman dialogue scenes and long experimental "in the moment" shot composition. It's seems like little planning was put into the film and everything was shot on the fly, but it all makes sense.
Barry Egan is chaotic neutral, triggered by his bullying sisters and lashes out frequently, yet can't admit to his problems. Hence, the oddly shot and cobbled together scenes of the first half of the movie reflect who he truly is. Jon Brion's score reflects this mood, taking on some cues from Damon Albarn's Ravenous score. It is not until he meets Lena Leonard when the film stabilizes, indicating his mood evening out in addition to being more truthful about who he is. While the film finalizes rather abruptly, we get the idea the world is about to be more calm for Egan.
I won't say this is a perfect film, but it was certainly a necessary reset for Anderson. Much like Licorice Pizza (to rather poor results) made us long for his dark period pieces, Punch-Drunk Love allowed us to reset the expectations that allowed Anderson to seek out new avenues and thus, present the world with some of his best work.
Either way, an interesting and chaotic film.