The 1990’s was probably the best decade, outside of the 30’s and the 70’s, for motion pictures. We ended the decade on a high note. 1999 brought us "American Beauty", "Boys Don’t Cry", "Magnolia", "The Matrix", and many more great films. But, that was the end of the decade. Throughout the 1990’s we were inundated with several masterpieces, "Pulp Fiction", "Goodfellas", "Short Cuts", "Do the Right Thing", "Safe", "Clerks", and too many more to name. But, of all the films of the 1990’s, one film stood out. The film was directed by a second time director in his twenties. When it opened in 1997 it was a unique synthesis of Altman, Scorsese, Demme, and Billy Wilder. The film was Paul Thomas Anderson’s "Boogie Nights".

"Boogie Nights" was originally scheduled to open in the summer of 1997 as counter programming to "The Lost World: Jurassic Park". Luckily, it was decided that the film would open closer to Thanksgiving and to Oscar time. The film opened at the New York Film Festival. It gained momentum and then was released wide by New Line Cinema. "Boogie Nights" received overwhelmingly positive reviews. It was heralded as one of the best pictures of the year. Just recently, The Village Voice voted it one of the best films of the decade. It was in reading that review that I went back and looked at "Boogie Nights". The first five times I saw it I was viewing it as a fan. After the Village Voice poll I got the film out and looked at it again, this time from a critical perspective. After watching and re-watching I came to the conclusion that "Boogie Nights" was, quite simply, the best film of the decade.

I know many of you are going to look at the list of films that I mentioned in the first paragraph and laugh when I saw "Boogie Nights" was the best film of the decade. And, I will say that every one of those films I mentioned above are all on my personal best lists, but "Boogie Nights" stands head and shoulders above those films. It is such a work of uncompromising vision that it makes you think about your world in a different way. I sat and watched this movie over five times before I sat down at my computer. I wanted everything to be thought out and honest. I hope I am doing all of us a favor.

"Boogie Nights" was the work of someone who loves movies, all kinds of movies. In the film, not one strict aspect is followed. There are many films referenced within the film. One of the more subtle, but intelligent homage’s is to the Stanley Donen-Gene Kelly masterpiece "Singing in the Rain". "Singing in the Rain" chronicles the fates of several actors whose careers take divergent paths when sound is introduced to cinema. This plot could have been used for tragedy, but instead, it was a glorious Technicolor musical. One of the best films of all time. "Boogie Nights" follows a similar structure, but within the porn world. The pornographic community was rocked when video took over for film. With tape people could fast forward through the "plot" aspects and head straight for the sex. This made many within the community lose their jobs or changed the way they created art. In several interviews P.T. Anderson has said "Singing in the Rain" was one of his influences. But, unlike many elements from other films, this does not seem like a rip-off. That is the genius of the film. Anderson incorporates several shots from other films, but it feels fresh. The use of extreme close-up, slow zoom, and steadicam are all done with the confidence of a master.

Anderson’s use of film technique is absolutely vital to "Boogie Nights" working as a film. To re-create the mood of the mid to late 1970’s Anderson employs several camera "tricks" that help transport the viewer. The first is the use of different film stocks. Whenever he shows a scene that is a "porn movie" moment the screen is cropped and the film is 16mm. This captures the cheap, grimy feel of most pre-1982 pornographic films. Anderson also employs the use of a split-screen. Split-screen was first introduced in the 1970’s. It was supposed to revolutionize filmmaking. Unfortunately, not many people made use of its abilities. The most famous uses were in the film "Woodstock" and the works of Brian DePalma. The process fell out of favor for many years. Anderson uses it to show us the rise of Dirk Diggler (Mark Wahlberg). By using a film technique from the 1970’s to invoke the 1970’s on film is a subtle way to make the audience aware of the time.

The slyest thing P.T. Anderson does in "Boogie Nights" is to make the characters likable. The film that most people compare this film to, Martin Scorsese’s "Goodfellas", failed to make its characters likable. You don’t care about Henry Hill. He’s a schnook, a loser, and a stool pigeon. On the other hand, Dirk Diggler is a sympathetic character. He is treated badly by his parents and falls into a world of drug addiction when his ego takes hold. During the film we want to see him succeed. He’s a sweet natured, dumb kid. All the other characters gain our love too. We feel bad for Buck Swope (Don Cheadle) when he is unable to get a loan for his dream stereo shop. The more we watch these characters, the less porn matters. We are watching a loving family try to make its way through the turbulent waters of the 1970’s and 1980’s. The film succeeds, ultimately, because the viewer does not get caught up in the pornography aspect, but looks at the film as a character study.

"Boogie Nights" is the best film of the last decade. It’s artistic, entertaining, and emotional. All three of those aspects synthesize together to create a piece of art that will be hard to surpass. P.T. Anderson is a director who will become a great influence on young filmmakers of the next millennium.