Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
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 Freddie first goes to Doris's house, there is a motion activated spotlight on the house next door as he is climbing up the stairs. Motion detector activated lights weren't introduced till 1985, many years after this scene's time period. See more »
And this is where we are at. At the lowest level. To have to explain ourselves, for what? For what we do, we have to grovel? The only way to defend ourselves is to attack. If we don't do that we will lose every battle that we are engaged in. We will *never* dominate our environment the way we should unless we attack! And the city, city's just noise. I know the city. I know its rotten secrets, its filthy lies and secrets. They... invited us here and welcomed us. Only to throw us down. And kick ...
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Two very different men try to fulfill one another.
Unquestionably P.T. Anderson's best film so far. I've always liked his work, but early on I had no sense he would achieve heights such as this. Let me say this, Anderson, ALONE, I think amongst relatively big-budget American filmmakers, allows his imagery to play by its own rules. EVERY other studio filmmaker- from Scorsese to Tarantino, to Jarmusch, plays by some kind of pre-established rules-even if they are the pre-established rules of "art cinema" or "second cinema". Anderson, like Weerasthakul or Bela Tarr, speaks his own tongue. I thought There Will Be Blood was pretty great, but this is Truly Great- a singularly challenging work of art. Similarly, I would compare Daniel Day-Lewis's work in Blood with Phoenix's work here. The former was impressive, creative, witty. The latter is brave, adventuresome, and merciless. More than any of the "canonical" "method" performances of cinema, I think Phoenix reaches into places of himself, of all of us, that's very unearthing demands new philosophical questions. Here's my take, for what it's worth, of the "meaning" of the film. It's a comparison of two drastically contradictory and complementary personalities. One wants to live without any Master by becoming a Master himself. The other wants a master to give some kind of shape to his life. L. Ron Hubbard- inspired guru Lancaster Dodd (played by Phillip Seymour Hoffman in a performance that's beautiful but not ground-breaking) is a con-man, but as I read him, he's not exactly a charlatan. He truly wants to believe the (self-serving) things he's saying, and he needs other people to believe them too. He's very successful at (least the latter half of) this. But this does not make him free. Instead, it turns him into a kind of King and, as we know from the example of Louis XVI, any sovereign is ultimately a privileged prisoner of his/her subjects. They are exempt from the laws of the land, of life, exactly in so far as others believe they are. Dodd's "freedom" from mastery is wholly dependent on the worship of the other, an other outstandingly represented by Phoenix's Freddie Quell, a potentially unbreakable "scoundrel" who Dodd both fears and admires as such. Quell is a completely, irredeemably, broken individual, whose only surviving qualities are sheer animal instinct- screw, eat, and drink. He yearns to be put back together, to be mastered by some other, to serve some sovereign and thus be welcomed back into civilization. But he's too far gone, or too savage, for that to work. He can't be mastered, even by any coherent sense of self. Dodd seeks the solitude of the sublime but is ultimately made completely dependent on the Other, while Quell, very unwillingly, achieves the freedom, and loneliness, of God.
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