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Boogie Nights (1997)

R  |   |  Drama  |  31 October 1997 (USA)
7.9
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Ratings: 7.9/10 from 172,047 users   Metascore: 85/100
Reviews: 546 user | 150 critic | 28 from Metacritic.com

The story of a young man's adventures in the Californian pornography industry of the late 1970s and early 1980s.

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Title: Boogie Nights (1997)

Boogie Nights (1997) on IMDb 7.9/10

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Nominated for 3 Oscars. Another 36 wins & 38 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Maurice TT Rodriguez (as Luis Guzman)
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Hot Traxx Waiter
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...
...
...
...
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Samson Barkhordarian ...
Hot Traxx Chef
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Brad Braeden ...
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Lawrence Hudd ...
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Storyline

Adult film director Jack Horner is always on the lookout for new talent and it's only by chance that he meets Eddie Adams who is working as a busboy in a restaurant. Eddie is young, good looking and plenty of libido to spare. Using the screen name Dirk Diggler, he quickly rises to the top of his industry winning awards year after year. Drugs and ego however come between Dirk and those around him and he soon finds that fame is fleeting. Written by garykmcd

Plot Summary | Plot Synopsis

Taglines:

Everyone has one special thing See more »

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for strong sex scenes with explicit dialogue, nudity, drug use, language and violence | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

31 October 1997 (USA)  »

Also Known As:

Pushing Thirteen  »

Box Office

Budget:

$15,000,000 (estimated)

Opening Weekend:

$50,168 (USA) (10 October 1997)

Gross:

DEM 265,943 (Germany) (5 June 1998)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

|

Color:

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Samuel L. Jackson was offered the role of Buck Swope. See more »

Goofs

At the New Year's Eve party, Todd tells Reed that he made the party because he doesn't work on Sundays. New Year's Eve 1979 fell on a Monday. See more »

Quotes

Todd Parker: We're not leaving yet. We're here now, and we want something else from you. Hey... hey, hey, hey, hey! Hey! We want something else from you.
Rahad Jackson: ...What?
Dirk: Todd, what the hell are you doing man? Let's just go.
Todd Parker: In the master bedroom... under the bed... in a floor safe. Understand?
Dirk: What the fuck is the matter with you Todd, let's go! Come on, man!
Reed Rothchild: Todd!
Todd Parker: Shhhut up Dirk. I t... I told you I got a plan. I got a very good plan.
Rahad Jackson: Are you-are you kidding me, kitty?
Todd Parker: Nah, I'm not, see? I'm not kidding. I want ...
[...]
See more »

Crazy Credits

Towards the end of the credits, Mark Wahlberg's character speaks. See more »

Connections

Referenced in Workaholics: Booger Nights (2013) See more »

Soundtracks

It's Just a Matter of Time
Written by Clyde Otis, Brook Benton and Belford Hendricks
Performed by Brook Benton
Courtesy of Mercury Records
By Arrangement with PolyGram Film & TV Licensing
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A modern masterpiece.
23 May 2004 | by (Wellington, New Zealand) – See all my reviews

Paul Thomas Anderson's stylish and compelling take on the 70s porn industry follows Eddie Adams, aka Dirk Diggler (Mark Wahlberg), through six years of sex, drugs and disco. His chance meeting with pornography director Jack Horner (Burt Reynolds) starts his career as one of the greatest adult actors of the time. Dirk's character is based on real-life porn actor John Holmes, who, like Dirk, was renowned for being extremely "well-endowed". This is where Dirk finds initial success.

The main themes in Boogie Nights are the obvious ones relating to a film of this genre; pornography, drugs, sex, betrayal, violence and music. Boogie Nights deals with the pornography theme with some control. It is not overplayed and the sex scenes are surprisingly minimal, but mentally explicit when they take place on screen.

Throughout the film cocaine is abused enormously, and the film's setting, Los Angeles 1977-1983, reflects the popularity of the drug at that time, which the film captures perfectly. However, Boogie Nights does not promote cocaine, as there are some scenes involving addiction and overdoses. For example at Jack's party, they find a girl who has recently, and graphically, overdosed; blood pours from her nose and she begins an unconscious fit. The film, before this scenes, has been fairly upbeat and comic, but from this point it foreshadows the darkness that it will occur.

The music scenes are executed brilliantly, from superbly-staged disco scenes to a down-and-out Dirk singing terribly in his new music career. The soundtrack too is excellent, featuring tunes from The Emotions, ELO, The Beach Boys and the unforgettable Sound Experience. The standout scene in the whole film comes down to the music; Dirk, Redd Rothchild (John C. Reilly) and Todd Parker (Thomas Jane) visit drug dealer Rahad Jackson's (Alfred Molina) house in order to make some quick cash from selling phoney drugs, but Night Ranger's Sister Christian, which is playing in the background, increases the intensity of the scene incredibly, proving that music can bring so much more depth to a scene. Boogie Nights is filled with those kind of scenes, which makes the film even more fantastic.

The standout performance in Boogie Nights is Burt Reynolds as the enigmatic, yet moody, film director. In the scene where he attacks a young guy for slating his movies, it is a complete shock for the audience, because before this point he has been pretty mellow and content. Other notable performances are Julianne Moore, Heather Graham as the beautiful Rollergirl, John C. Reilly, and Mark Wahlberg, who delivers the performance of his career.

Boogie Nights is also a surprisingly original film, using common themes but filmed in its own sharp and realistic way. Anderson's approach has been fully captures these characters in a time when nothing seemed to be going wrong, or at least until the 80s arrive. From then on, things turn very dark indeed, and all signs of the recognisable characters and situations from the first part of the film have gone. This does not, however, reduce the high level of engaging entertainment that this film offers.

Boogie Nights was not a box-office success, earning only £2 million at cinemas in the UK. But this is not the film's, or the director's concern. Anderson recognises quality, not popularity, which is evident in his three other films, Hard Eight, Magnolia and Punch-Drunk Love. I would recommend this film to anyone who enjoys a simple parable filled with excellent and variable situations, because at the end of this film you will realize that Boogie Nights is a simple morality tale, but one which will stay in the mind days after you watch it. Boogie Nights is at once shocking, hilarious, devastating and both visually and audibly outstanding.


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