#thisiswhyilovefilm

[india-loves-film]

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[uicukie]

After sunset#sanfrancisco #35mm #fuji400 #canona35f #thisiswhyilovefilm #filmisnotdead #analogvibes #analogonly

[jed-thomas]

Punch-Drunk Love

Monday Madness       Wednesday Wamblings       FRESHday (or, Friday)

                                                        Trailer

Director: Paul Thomas Anderson

Cinematography: Robert Elswit

Screenplay: Paul Thomas Anderson

Score: Jon Brion

Starring: Adam Sandler, Emily Watson, Phillip Seymour Hoffman

I am smiling. Just to see that title as I type these stupid words, I am smiling like some daft fool.

They feel less like pixels and more like memories arranged neatly into a form that perfectly, impossibly describes happiness as if it is so easily tangible. Mad, electrifying, infectious happiness is present in those three words like windows into some glorious Eden where our emotions take shape so that we may enjoy, appreciate and hate them all with true precision.

For that is what Punch-Drunk Love is, the physical realisation of all our rabid, uncontrollable emotions. And it is rambunctious and excitable and glorious.

Punch-Drunk Love is the fourth film by the marvellous Paul Thomas Anderson who writes and directs this fantastic romantic comedy-drama about the peculiar Barry Egan (Adam Sandler) and his spontaneous relationship with Lena Leonard (Emily Watson). A nice simple story line, as is usually the case in PTA’s films, but one that yields considerably beautiful results. To me, the mark of a genius is not necessarily glibly trod footprints on some new path but rather the invigoration of some well-trodden path, so that these new footprints, whilst trodden amidst thousands of others, seem to be the singular route along this old way though they are freshly placed. A genius takes a familiar, redundant formula and makes it something new without simply shunning all of the clichés as many of these snobby self-diagnosed pioneers of cinema do.

Pretending you are above a genre is easy. Making you feel the way that Punch-Drunk Love does is not.

So, therefore, Paul Thomas Anderson is a genius. (Yes, I’ve made up my mind)

Ok. Now, where to start? There is too much joy in this film to put one aspect above another. Let’s just start with Jon Brion’s fabulous score.

Though it is a typically glittery, rom-com score, there is no denying the beauty of such scores and, in particular, Brion’s take on it. He has all the gorgeous strings that swell and twirl, uncontrollably forcing your mouth into a gormless smile. He has all those troubled-sounding violins to accentuate Egan’s troubles. He has those dainty, fluttering chimes that cascade like light rain over the film.

But, he, also, has some other interesting musical flights that do not fit within the previously-established formula of rom-com scoring.

Brion has a particularly unique and often invasive musical voice. By invasive, I mean that, at points, the score is so loud and dense that it seems to sit on the same level as the dialogue in terms of what the audience should be paying attention to. And, in such sections, the score is in no ways adhering to the rom-com-scoring rulebook. These arrangements are percussive and jittery (greatly resembling the nature of the scores that Johnny Greenwood would later supply to Anderson) with less instruments and more sounds, I guess. Like the scraping of objects on one another. I think, anyway. Which is the joy of Brion’s score: you can’t really put a finger on exactly what it is, or what’s going on within it, but you know that you like it.

You see? Traditional rom-com sparkles but, also, something inventive and new which does not feel out-of-place, it feels just right. In other words, the practical application of what I was saying earlier about genius. But, all the other aspects of Punch-Drunk Love exhibit this same trait.

Therefore, it’s genius! Ah, it’s all too easy, really.

Anyway, let’s pop in a quick note on Adam Sandler. So, this film is one that many point towards as a beacon of hope for the now critically-despised actor, showing that he can act, and well. I haven't actually seen a single Sandler movie apart from this one so I cannot honestly give my opinion on the man’s work. All I know is Mark Kermode really hates.

Be that as it may, my only thought of the man as I know him now is that he is obviously very talented. Very. For this is a performance that even the other excellent actors who have worked with Anderson, like Daniel Day-Lewis and Joaquín Phoenix, could not pull off. Though both of those actors are fabulous and probably two of my favourite for their commitment and sheer physicality that they bring to their roles, they do not bring quite as much heart as Sandler does.

It has all the makings of a Day-Lewis/Phoenix-esque performance (the intricate body movements, nervous ticks and focused vocal acting) but with a little bit more of that lovability that comedic actors normally bring to their more dramatic roles.  

What you get is a character who you could watch on screen for hours on end. His relatable social-awkwardness and difficult family life resonate with us all, as we all feel like Barry Egan sometimes, if a tad less volatile. You can’t help but feel his intensity of emotion the whole way through and I think Adam Sandler’s performance is a greatly important factor in making this film so affecting.

His co-star Emily Watson is a mysterious and seductive character which you find yourself falling for by the end of the movie. It’s probably that British accent. Blimey.

Whilst her love for Barry seems slightly unfounded, I realise that the point of Punch-Drunk Love is that love is insane and manic and does not require any basis in fact. It was just hard to believe in the relationship at first because of Egan’s obvious mania. I came round, eventually. In fact, I defy anyone to say that, by the end of this film, these two do not belong together.

Man, Anderson always gets good performances out of his actors. He just doesn't slip up, does he?

Cinematography, now. So, Robert Elswit is in charge of making this film look pretty. Of course, he does that absolutely stunningly.

He is such a wonderful cinematographer with such a gorgeous way of telling the story, no matter what film it is. Nightcrawler, this, There Will Be Blood, Mission Impossible: Ghost Protocol. All great films and he makes them even more visually delicious. He’s not intrusive in his vision, he’s adaptable to any story and director. The only real consistency in his work is that he makes every film he works on 78% better. At least. That’s a good number, too. This boy’s a damn cinematic God.  

I love you, Robert Elswit. You da man, man.

All the rest is as you expect from Anderson. Marvellously unique characters. Weird and wonderful dialogue. Interesting directorial vision. Just fab, fab, fab. All of it! Fab!

Punch-Drunk Love is a glorious and visionary piece from a director who has yet to reach his peak. An utterly consuming work of palpable joy and an incomparable giddiness for itself and its subject matter. It is pure and splendid happiness in visual form.

No one can hate this film. No one can be less than in love with this film. It establishes a throughly personal and intense connection with its viewer in just ninety minutes. Ninety minutes! That’s peanuts and you fall in love with stupid, moving pictures. And it’s real love, too. True love. The truest.

There isn't really any real succinct way to surmise an experience like this, so it’s best if I just state the obvious.

I am in love with Punch-Drunk Love.  

10/10

[india-loves-film]

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[india-loves-film]

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[india-loves-film]

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[india-loves-film]

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[india-loves-film]

Hearty Congrats on the first #HomeDeveloped photograph! 👤: instagram.com/og_jabrone | 📷: #OlympusOM1 | 🔭: #Zuiko50mm | 🎞️: #Fujifilm #Superia400 |📍: #Prescott, #Arizona, #USA #35mm #AnalogPhotography #AnaloguePhotography #FilmIsNotDead #BuyFilmNotMegapixels #IStillShootFilm #ShootFilmBeNice #StayBrokeShootFilm #ThisIsWhyILoveFilm #FilmWave #ArizonaOnFilm #USAOnFilm #USALovesFilm (at Prescott, Arizona) https://www.instagram.com/p/By9dBowHLu2/?igshid=ccf76x41se8a

[india-loves-film]

👤: facebook.com/FarishaziqWA | 📷: #CanonEOS1N | 🔭: #CanonEF50mm | 🎞️: #KodakPortra |📍: #Jerantut, #Pahang, #Malaysia #35mm #AnalogPhotography #AnaloguePhotography #FilmIsNotDead #BuyFilmNotMegapixels #IStillShootFilm #ShootFilmBeNice #StayBrokeShootFilm #ThisIsWhyILoveFilm #MalaysiaLovesFilm #MalaysiaOnFilm (at Jerantut) https://www.instagram.com/p/BzZnKuunjQj/?igshid=w1xftw3ifmxp

[india-loves-film]

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[india-loves-film]

👤: facebook.com/tom.leow | 📷: #PentaxSP2 | 🔭: #SuperTakumar35mm | 🎞️: #KodakColorPlus200 | ⚗️: instagram.com/om_labkl |📍: #PetalingStreet, #KaulaLumpur, #Malaysia #35mm #AnalogPhotography #AnaloguePhotography #FilmIsNotDead #BuyFilmNotMegapixels #IStillShootFilm #ShootFilmBeNice #StayBrokeShootFilm #ThisIsWhyILoveFilm #FilmWave #KaulalumpurOnFilm #MalaysiaOnFilm #MalaysiaLovesFilm (at Petaling street-Kuala Lumpur) https://www.instagram.com/p/BzARK4An2bg/?igshid=1kld198x376nc

[india-loves-film]

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