By Jake Hjort, Contributing Writer
Welcome back, fellow time travelers, to another edition of 20th Century Flicks! This month, in a continued effort to check classic cinema off of my list of shame, I’ve delved back to 1997 to watch Paul Thomas Anderson’s Boogie Nights. I recently celebrated my 29th birthday, so in order to honor that, as well as PTA’s long overdue first Oscar win earlier this month, I wanted to highlight a film that shares a birth year with me and would also be enjoying the final year of its 20s.
Set in the late 70s and early 80s, Boogie Nights follows the rise and fall of Dirk Diggler (Mark Walberg), a star of, erm, “adult” films (I’ll keep this article as clean as I can, but in case you aren’t familiar with the film some discussion of the “adult film” industry is inevitable). Thanks in large part to his, well, large part, Dirk rapidly becomes a star in his field, working with acclaimed pornographic filmmaker Jack Horner (Burt Reynolds) and fellow actors Amber Waves (Julianne Moore), Reed Rothchild (John C. Reilly), and Rollergirl (Heather Graham). Unfortunately, the bigger they are the harder they fall, as Dirk’s career comes crashing down around him, spurred on by an evolving industry and cocaine addiction.
I have to admit that PTA’s filmography is a big blind spot for me, this only being the third film of his that I’ve seen (the other two being There Will be Blood and his recent, award-winning One Battle After Another). Not to say that those other two films aren’t excellent—they most definitely are—but I think his sophomore effort here is the one that will finally convince me to sit down and work through the rest of his films. This is such a confidently written and directed movie for such a young filmmaker, not just in the risqué subject matter but in the complexity and subtlety of the construction as well. There are so many little throwaway gags and lines that don’t get much attention but are some of the funniest bits that I’ve seen in any movie. Philip Baker Hall’s “I like simple pleasures, like butter in my ass and lollipops in my mouth” had me laughing so hard I had to rewind to catch up on what I had missed. There’s also a large cast of characters who all maintain their own motivations and story lines, each feeling distinct and like real people with lived experiences.
Of course, the quality of these characters are as much a reflection of the actors portraying them as they are of PTA’s direction and writing. Wahlberg is an actor that I can’t say I’ve ever really enjoyed seeing in a movie before, but despite a few wooden scenes I can easily say this is the best performance of his career. That being said, I think that he is still clearly outshined by the rest of the ensemble and supporting cast. Reynolds is fantastic as a pornographic director who yearns to be taken seriously for his artistic merits, acting as a much-needed steady hand amidst a sea of chaos. Moore and Reilly are great as Dirk’s friends and co-stars and Philip Seymour Hoffman, one of my favorite actors of all time, steals every scene he’s in as a boom operator with an unrequited crush on Dirk. Add on to this incredible actors such as William H. Macy, Don Cheadle, Luis Guzmán, and Alfred Molina who all get a scene or two to really shine and you’ve got one of the best ensembles of all time, even with a bit of a dud in the headliner role.
At the end of the day, basically all of the characters’ individual journey center around seeking acceptance and validation. Dirk and Rollergirl seek out parental figures to replace their own broken families, Jack wants recognition for his artistry, and even Cheadle’s Buck Swope, a character largely in the background of the plot, just wants someone to appreciate his cowboy outfits and knowledge of stereo systems. These ideas of finding “your people” and the place where you belong have always struck a chord with me and feel particularly meaningful when set amidst a group of people who have historically lived on the fringes of polite society.
Alongside the characters and story, Boogie Nights excels at the technical elements as well. Beautifully shot on film by cinematographer Robert Elswit, who would later go on to win an Academy Award for another PTA collaboration with the gorgeous There Will Be Blood, I was amazed by how much the colors popped and how pretty Los Angeles looked. The cinematography plays directly into the storytelling as well, with porn films initially shot on a grainier, 16 mm film and transitioning to videotape as the industry progresses, much to Jack’s chagrin. Add in some great long take shots as well as some great transitions, including one particularly notable transition that takes you into the lens of a camera to see Dirk’s first porno. Boogie Nights is an undeniable visual feast for the eyes throughout. On the technical side of things, I also want to take a moment to shout out the film’s soundtrack as well, as there are so many excellent needle drops. From Night Ranger’s Sister Christian to Johann Sebastian Bach’s Jesu, Joy of Man’s Desiring, every music choice perfectly fits the moment and helps to drive home the movie’s themes and get you into the proper period mindset.
Paul Thomas Anderson is widely considered to be one of the best filmmakers working today, and from his sophomore effort in Boogie Nights it’s clear to see that he’s had his magic touch from the beginning. I’m glad that he finally got the awards respect that he has long deserved and I look forward to making my way through the rest of his filmography later this year. Boogie Nights is a fantastic film on every level, and I can’t wait to uncover more of this artistry.
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