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
John has lost all his money. He sits outside a diner in the desert when Sydney happens along, buys him coffee, then takes him to Reno and shows him how to get a free room without losing much money. Under Sydney's fatherly tutelage, John becomes a successful small-time professional gambler, and all is well, until he falls for Clementine, a cocktail waitress and sometimes hooker.Written by
Jon Reeves <firstname.lastname@example.org>
The screenplay was originally written in 1992, according to Paul Thomas Anderson, in a very short period of time; about two weeks. See more »
When John and Clementine leave the motel for their honeymoon in Niagara Falls they are driving a Chrysler product, possibly a Plymouth Gran Fury. The Chrysler "star" hood ornament is clearly visible as they leave. When they are driving across the desert, a view out the windshield shows a blue-and-white Buick Regal hood ornament. The character Sydney is driving a silver/blue Buick Regal. See more »
[at the cocktail lounge]
Tell me something. Are you required to flirt, to behave as you do toward that table of men over there? Maybe... it's some part of your job?
Uh, they don't say to do it.
But if you don't?
Well, then I get questioned, like: "Why were so rude to them?", and, I mean, I can't talk back. I can't tell them to fuck off and leave me alone.
As a rule?
I'd also lose the tip.
See more »
This first film from Paul Thomas Anderson shows the promise he would later fulfill with BOOGIE NIGHTS. The writing here is as sharp as it was in the later film, but it must be said as a director, he sometimes lets scenes go on too long (ironic that BOOGIE NIGHTS, which is a longer film, is also a tighter one). The main connection between both films is Anderson's obvious affection for his characters. Also the relationship between Sydney and John doesn't turn out the way you'd expect. And Anderson is to be commended for avoiding melodrama.
Philip Baker Hall is one of those actors who you may not know by name, but when you see him you instinctively feel he's right for the part, no matter how small. This is one of his rare leading roles, and he's perfect, showing the character's success and also his loneliness, without sentimentalizing it. John C. Reilly is properly eager and naive as John. Samuel L. Jackson is dependable here, and Gwyneth Paltrow proves she doesn't need a British accent to give a good performance. She and Jackson should also be commended for backing Anderson when he had problems with the studio.
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