Magnolia (1999)

An epic mosaic of interrelated characters in search of love, forgiveness, and meaning in the San Fernando Valley.

Director:

Paul Thomas Anderson

Writer:

Paul Thomas Anderson

Stars:

Tom Cruise, Jason Robards, Julianne Moore

Nominated for 3 Oscars. Another 28 wins & 55 nominations.

Cast

Cast overview, first billed only:
Pat Healy	...	Sir Edmund William Godfrey / Young Pharmacy Kid
Genevieve Zweig	...	Mrs. Godfrey
Mark Flanagan	...	Joseph Green (as Mark Flannagan)
Neil Flynn	...	Stanley Berry
Rod McLachlan	...	Daniel Hill
Allan Graf	...	Firefighter
Patton Oswalt	...	Delmer Darion
Raymond 'Big Guy' Gonzales	...	Reno Security Guard
Brad Hunt	...	Craig Hansen
Jim Meskimen	...	Forensic Scientist
Chris O'Hara	...	Sydney Barringer
Clement Blake	...	Arthur Barringer
Frank Elmore	...	1958 Detective
John Kraft Seitz	...	1958 Policeman
Cory Buck	...	Young Boy

Storyline

24 hours in L.A.; it's raining cats and dogs. Two parallel and intercut stories dramatize men about to die: both are estranged from a grown child, both want to make contact, and neither child wants anything to do with dad. Earl Partridge's son is a charismatic misogynist; Jimmy Gator's daughter is a cokehead and waif. A mild and caring nurse intercedes for Earl, reaching the son; a prayerful and upright beat cop meets the daughter, is attracted to her, and leads her toward a new calm. Meanwhile, guilt consumes Earl's young wife, while two whiz kids, one grown and a loser and the other young and pressured, face their situations. The weather, too, is quirky.

---

Plot Keywords:

coincidence | abusive father | fictional game show | fictional quiz show | multiple storyline | 

---

Taglines:

Things fall down. People look up. And when it rains, it pours.

---

Genres:

Drama

---

Motion Picture Rating (MPAA)

Rated R for strong language, drug use, sexuality and some violence

Details

Official Sites:

New Line

Country:

USA

Language:

English German French

Release Date:

7 January 2000 (USA)

Also Known As:

Mag·no'li·a

Filming Locations:

Angelus Oaks, California, USA

Box Office

Budget:

$37,000,000 (estimated)

Opening Weekend USA:

$193,604, 19 December 1999, Limited Release

Gross USA:

$22,455,976

Cumulative Worldwide Gross:

$25,995,827

Company Credits

Production Co:

Ghoulardi Film Company, New Line Cinema, The Magnolia Project

Technical Specs

Runtime:

188 min

Sound Mix:

Dolby Digital SDDS DTS

Color:

Color

Aspect Ratio:

2.39 : 1

Did You Know?

Trivia

At the time of release, Paul Thomas Anderson stated that he really felt "that Magnolia (1999) is, for better or worse, the best movie I'll ever make".

---

Goofs

The blood on Kurring's forehead changes at the end of the movie.

---

Quotes

[first lines]
Narrator: In the New York Herald, November 26, year 1911, there is an account of the hanging of three men. They died for the murder of Sir Edmund William Godfrey; Husband, Father, Pharmacist and all around gentle-man resident of: Greenberry Hill, London. He was murdered by three vagrants whose motive was simple robbery. They were identified as: Joseph Green, Stanley Berry, and Daniel Hill. Green, Berry, Hill. And I Would Like To Think This was Only A Matter Of Chance. As reported in the Reno...

---

Crazy Credits

Pedestrian #2 is incorrectly spelled Pedistrian #2.

---

Alternate Versions

In the script, there is an alternate storyline for Stanley. In it, instead of running to the school library where he reads the books about the geniuses, he runs away to a coffee shop. Also in the coffee shop are Dixon (the little boy who raps for Jim Curring) and the Worm (who is mentioned in the movie, both in the rap and during Marcie's interrogation). The Worm (who is Dixon's father) notices Stanley and motions for Dixon to leave. At this point, Dixon finds Linda passed out in her car. In the coffee shop, the Worm and Stanley talk about their fathers and Stanley offers to give the Worm the money he won on the game show. The frogs begin to fall from the sky as Dixon runs in, asks the Worm if he got the money from Stanley, then pulls a gun (the one which he stole from Jim Kurring) on Stanley, demanding his money. The Worm convinces Dixon to give the gun up. They leave the diner after the frogs fall, drive by Solomon and Solomon, and throw the gun from their speeding car, which lands by Jim and Donnie. From the DVD documentary, it seems like this scene was partially filmed and then PT Anderson decided to scrap it.

---

Connections

Features Life of a Gigolo (1998)

---

Soundtracks

Hungarian Dance No. 6
(uncredited)
Written by Johannes Brahms
Performed by New World Harmonica Trio

User Reviews

A positive, joyful film

A rich slice of modern life presented wonderfully by Paul Thomas Anderson. Nine or so "broken" people are followed through the film, each of them at least vaguely interconnected to the others. We are shown where they are currently at in life, and find out what has happened to have brought them there. By the end of the film, they are finally at a point where they can confront what is making them so unhappy and perhaps take control of their lives and look forward to a brighter future (even if their time is limited).

Some people have complained about the ending of the film, perhaps hoping for everything to be neatly tied up, or at least for something less absurd than we get. In my opinion, however, it is perfectly apt for things to end as they do. We dip into these characters' lives in the present, learn about their past, and leave with optimism for their future. I would have found a cinematic "group hug" to be overly sentimental and highly unnecessary. For that alone, the director must be applauded for exercising some restraint. It would have been far too easy to extend the story a bit further and portray the characters as now being "mended", but this is not how real life is and would not have rung true with the film's overall tone of "this is just something that happens".

The sheer ambition of the director is also welcomed. It looks like pre-millennial tension sparked off a mini-renaissance in Hollywood, with this film and others such as "Fight Club" and "American Beauty" harking back to the period in the 70s when there was no distinction between "mainstream" and "arthouse". A-list actors and directors were not afraid to take a few risks and box-office gross was not the only factor used to denote a film's success or failure. It remains to be seen whether the current revival is just a blip. Let's hope not.

As for Mr. Cruise, although this may be his best performance to date, at times he looked a bit out of his depth. At the bedside scene, for example, the clenched fist, intense gaze and facial grimace instantly shattered my suspension of disbelief. This trademark Cruise gesture (as much so as Bruce Willis' smirk) crossed the line between character and actor, turning "Frank TJ Mackey" back into "Tom Cruise - Movie Star". For most of the film his performance was convincing, but when the role required some real emotion or loss of control, his limited acting range was exposed. I don't think he'll ever be able to achieve the credibility he'd like, but a good start would be to take on more such challenging roles, with the proviso that they are not obvious vanity projects or oscar-vehicles.

To sum up, I found this film warm and sincere, not pretentious as some have suggested. As for the frogs? Well, don't strain yourself looking for some deep, hidden metaphor, just take it at face value and enjoy the pure spectacle that you get from the sheer number and size of the frogs. It's a visually stunning sequence, up there with other truly classic moments in cinema.

From reading some of the comments presented here, it seems a shame that many people can't get past the swearing, drugs, running time or "arthouse cinema" tag. To really enjoy this film, you probably need to watch it without any such prejudices, and to leave your cynicism at the door. Don't be afraid of not "getting it", take it as you find it. Just sit back, let it envelop you and you'll be rewarded.