On the other hand, “Boogie Nights” is even more ambitious and provides a much more enjoyable experience as PTA explores the seedy world of the porn industry in the late 70s and early 80s. Like all his movies, the film is visually spectacular as PTA recreates the tacky world of the period, while introducing us to a series of memorable characters caught up in the wild world of porn. Unlike many of PTA’s other films, however, “Boogie Nights” also tells a coherent story that skillfully weaves together the lives of his characters and holds the audience’s attention through the end.
I recently re-watched the film for the umpteenth time and came away with several impressions:
Comeback Role for Burt Reynolds
The casting decisions here are flawless, and it all starts with Burt Reynolds as Jack Horner, the porn director who wants to be taken seriously as a filmmaker. Jack lives in a large, mid-century modern house with a large pool and bar in the back. It’s perfect for parties and porn shoots and just big enough for some of his regular actors and actresses to live there. Burt was 61 when he shot this film, sporting a salt & pepper hair piece and beard. He’s older and looks distinguished but still has sex appeal and loads of charisma. Jack serves as a sort of father-figure to the younger actors and actresses and Burt’s understated and nuanced portrayal of Jack is critical to this film. With that context, it was quite shocking to learn that Burt hated working with PTM and disliked the film.
The plot follows the rise and fall of a young, well-endowed kid who dreams of being a star. Mark Wahlberg does a fine job playing Eddie. He’s a sweet and friendly kid working as a dishwasher in a club in the Valley when Jack discovers him. He then takes on the stage name of Dirk Diggler, joining the band of misfits starring in Jack’s films.
It’s rare to hear a director be honest and point out a flaw in another director’s work. But Quentin Tarantino isn’t your average director.
Here’s a clip of Tarantino discussing “Bookie Nights,” a film he says he loves, directed by his friend Paul Thomas Anderson.
Tarantino discusses the Burt Reynold’s character, the obvious inspiration for his character and a line from the movie. What Tarantino says makes a lot of sense, and it’s a fair criticism of one small part of an otherwise great movie. And it’s refreshing to hear him be honest about it.
Archana Ram at EW informs us that the latest bestseller to be the subject of a big-time Hollywood movie adaptation is the instructional tome, What to Expect When You’re Expecting that will become a sort of “Pregnancy, Actually” multi-story/multi-star film.
This two-disc set is basically the agony and the ecstasy from the collected works of film critic/scholar turned boy wonder writer-director-actor Peter Bogdanovich. Placed in reverse chronological and quality order, Disc One is 1975’s agonizing “Nickelodeon,” one of a series of box office and/or critical failures that ended the young director’s early career hot streak. A forced slapstick comedy drawn very loosely from the silent era reminiscences of Hollywood greats Leo McCarey, Raoul Walsh and Allan Dwan, it’s a good-natured but entirely unfocused bore despite the strong efforts of an all-star cast led by Burt Reynolds and Ryan O’Neal, and featuring Tatum O’Neal (“Paper Moon”) and John Ritter (“Three’s Company”), among many others. The disc includes both a brand new black and white director’s cut alongside the original color theatrical version, but it will take more than the majesty of monochrome to save this one. Bogdanovich’s DVD commentary provides better movie history and better entertainment.
“The Last Picture Show” is, of course, something completely different. On his second feature, Bogdanovich blew the 1971’s cinema world’s collective mind and drew comparisons to his friend and mentor, Orson Welles, with this crisply wrought black and white adaptation of an early Larry McMurtry novel. Nominated for eight Academy Awards, it details the late teen years of two high school football players (Timothy Bottoms and Jeff Bridges) and a manipulative beauty (Cybill Shepherd) following in the footsteps of her unfaithful mother (Ellen Burstyn) in a rapidly dying Texas town. A minor cause celebre at the time because of its nudity and blunt sexuality, its glory is its acute visual storytelling and Robert Surtees’ masterful photography, a biting and heartbreaking script, and a large number of genuinely tremendous supporting performances. In particular, Cloris Leachman as a deeply lonely housewife who falls for a high school boy and Western mainstay Ben Johnson (“The Wild Bunch,” “Wagon Master”) as the charismatic walking embodiment of the town, Sam the Lion, won entirely deserved supporting acting awards. A sardonic yet humanistic exploration of fractured relationships and poor choices, it remains a riveting and moving work of cutting edge movie-making from a true cinematic reactionary.