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| DIRECTED BY |
| Paul Thomas Anderson
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| STARRING |
| Melora Walters |
| Philip Baker Hall |
| Tom Cruise |
| Jeremy Blackman |
| Jason Robards |
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I�ve come to the conclusion that the main theme of �Magnolia� is about forgiveness � at least each primary story can be deconstructed down to it, and Officer Kurring�s (John C. Reilly � taking �awkward acting� to a whole new level) speech about it at the end pretty much confirms that assumption. Director Anderson films this as if Kurring is talking to himself while driving, and it would�ve made more sense to make it seem as if he was being videotaped for a �COPS�-like television show. But one will eventually come to realize that Anderson isn�t really concerned with what makes sense with this film, which has frustrated many people, although many have embraced the film as well.
It�s easy to invest confidence within these characters because their dramatic actions � even if a little exaggerated at times � never seem disingenuous. People connect with these characters and the endlessly depressing situations that they must endure and eventually respond to. In terms of sheer scope, the film is amazingly detailed � from the custom-designed Partridge television logo to the carefully placed novels on top of Stanley�s desk � and Robert Elswit�s cinematography makes it all look beautiful.
There is another underlying theme that Anderson clearly has much interest in � that these characters� lives are somehow interconnected in some fashion. The amazingly creative opening sequence is a thrill to watch � with its floating-over-rooftops cinematography and kinetic pace. However, I never really understood how these tales about coincidences really intertwined that well with the actual film, which mainly attempts to interconnect its characters� stories. Some of these stories come together rather neatly � such as Donnie Smith�s and Frank Kurring�s. But others just don�t seem to interconnect with anything peripheral � such as Stanley�s. And then I felt that Anderson tried a little too hard to make these stories come together by doing such nonsensical things as having them all singing the exact same song at the exact same moment. Sure � it makes for a pretty cool sequence � but come on now.
For all of its ridiculousness, I did enjoy the much-debated frog sequence. I assume that it had something to do with symbolizing the absolute craziness of each character�s life at the moment. Yes, �Magnolia� is an emotionally powerful, touching, and humane film that never really makes any compromises with its subject material � clocking in at nearly 200 minutes. I especially liked the hopeful note that the film concluded on. But I couldn�t help but feel that Anderson just got a little too ambitious � a little too grand in his scope � and lost track of exactly where he was going with each detail.
