A psychologically troubled novelty supplier is nudged towards a romance with an English woman, all the while being extorted by a phone-sex line run by a crooked mattress salesman, and purchasing stunning amounts of pudding.
Paul Thomas Anderson
Philip Seymour Hoffman
Returning from Navy service in World War II, Freddie Quell drifts through a series of breakdowns. Finally he stumbles upon a cult which engages in exercises to clear emotions and he becomes deeply involved with them. Written by
Alan Young, edit Hal Issen
When Lancaster Dodd is challenged by a skeptic, the shadow of a boom microphone is visible on the wall behind Dodd. See more »
According to the history here, I notice that you say you saw a vision of your mother, tell me about that, tell me what happened.
[speaking over him]
No it wasn't a vision, it was a dream.
Well tell me about the dream.
I need to know.
Why you need to know?
This will help in your treatment.
You can't help in my treatment, you don't even know... Well, it was my mother and my father and me and... back home. And... we're sitting around a table... and drinks... laughing. And it just sort of ended...
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After its title, this film has no further opening credits. See more »
I don't remember when was the last time I got so engrossed in a film that the ending felt like snapping out of a trance. Remarkable in every detail but the detail I appreciate the most is the acting, if one can call it that. Joaquin Phoenix introduced us to a character I had never seen before on the screen. I was compelled, mesmerized. A sensation I hadn't experience since Colin Firth gave us Adrian LeDuc in 1989's "Apartment Zero". A total original but solidly planted in a reality that is undeniable. Shattering. Love him or hate him, he's not asking for sympathy on the contrary. He is defiant. Philip Seymour Hoffman adds another spellbinding character to his already extraordinary collection. And you, Mr. Anderson, who are you? Long Live The Cinema!
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