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
During the psychedelic 60s and 70s Larry "Doc" Sportello is surprised by his former girlfriend and her plot for her billionaire boyfriend, his wife, and her boyfriend. A plan for kidnapping gets shaken up by the oddball characters entangled in this groovy kidnapping romp based upon the novel by Thomas Pynchon.Written by
A special "Ultimate 70s" trailer was released featuring treated film stock and the period Warner Bros/Seven Arts logo. See more »
In the restaurant discussing the Golden Fang, Doc and Sauncho Smilax bring up Howard Hughes and his purchases in Las Vegas real estate. The movie takes place in 1970, Howard Hughes dies in 1976, yet Doc refers to Howard Hughes in the past tense when he says, "Howard Hughes was Italian?" as if he were dead. See more »
I had just run into this bathroom stall without checking first, and I already had my finger down my throat to vomit up this big balloon of dope I had just scored, and there Coy sat, gringo digestion, about to take this giant shit. And we both let go at the same time, and there's just vomit and shit all over the place, and- put my head in his lap, and to complicate things, he had this hard-on.
One thing leads to another, and we pretty much started shooting up together on a regular basis.
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After the credits roll, the end caption is the opening inscription from Pynchon's novel, Inherent Vice: "Under the Paving-Stones, the Beach!" - Graffito, Paris, May 1968 See more »
I've seen this movie twice, both because I'm a PT Anderson fan, and because on first viewing, I came out scratching my head, and I thought that I might be missing its merits.
As opposed to other films of its ilk that have an intricate, even deliberately convoluted plot (The Big Sleep, The Long Goodbye, The Big Lebowski, and maybe Kiss Me Deadly or other noir), Inherent Vice isn't wall-to-wall engaging scenes. A few of the scenes are, but far too many aren't sufficiently engaging. Half the scenes in this movie, right from the start, are highly skilled (the lighting, the acting, the composition), and otherwise wholly shruggable.
There's plenty of brains and heart as the movie talks about squares vs subversives, or the abandoned values of the 60's being more human than the greed to follow, but if you've considered all this before, it might not add anything for you.
It's skillfully made, smart, and challenging. But I'm still not sure I see what the artistic insights or merits are.
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