Paul Thomas Anderson’s third film and his shortest by some
mark is Punch Drunk Love, a
fantastically extrovert romantic comedy which combines shades of Coen-esque
humour and dare I say Lynch-ian motifs of magical realism and dual personality.
The film is unlike any romantic comedy I’ve seen before and personally I prefer
it to the likes of There Will be Blood
and The Master for which the Director
is better known.
Although the plot is often a bit thin and sometimes
incidental it concerns a lonely and occasionally awkward man called Barry (Adam
Sandler) who owns a small business that sells novelty toilet plungers. Barry
has the misfortune of having seven sisters, a situation which emasculates him
and causes him no end of hassle and grief. One day while at work Barry
witnesses a horrific car accident and suddenly ends up with a harmonium. That
same day he also meets a pretty girl called Lena
(Emily Watson). Sometime later, while lonely, Barry calls a premium rate sex
line, a move which brings about a lot more pain and hassle than even seven
sisters can muster.
I can’t speak highly enough of Punch Drunk Love. I absolutely loved the film and wish I’d only
seen it sooner. For years I’d heard that it was the film which let Adam Sandler
off the hook for all the awful, less than funny, vomit inducing mushy
pineapples of films he’s created over the last decade or so and while I still
can’t let him off completely, I’m about to write a sentence I never thought I’d
write. Adam Sander is terrific in this film. He has a certain danger to him
which is missing from his broader comedic roles and really suits him. One of
the flaws in his character is that he has a lot of pent up anger and
frustration which busts out from time to time and Sandler delivers this brooding
menace brilliantly before unleashing his anger in a convincing manner. For 95%
of the film though his character is just a regular guy who is trying to run a
business and get on with his life. He has a lot of quirks such as buying
thousands of dollars of pudding for an air miles promotion but that only helps
to hide his darker, uncontrollable side.
As well as Sandler’s brilliant performance, co-star Emily
Watson is also very good. She is quite coy but there are signs that mark her
out as having much more of a dominant personality. It is her who makes not only
the first move but also initiates their introduction. She also appears to be
following Barry through a supermarket at one stage although whether it is
actually her or not is never revealed. There is a brief two scene cameo from
Philip Seymour Hoffman who is brilliant, playing a total bastard. He and
Sandler share one great scene together which is funny, loud and uneasy.
Writer/Director Paul Thomas Anderson is also on top form here too. His script,
though lacking plot is full of weirdly quirky and unusual details such as the
pudding, air miles, plungers, blonde brothers and nasty sex line workers. It is
the script which felt most like a Coen film to me. Anderson manages to mask the fact that his plot
is thin and his ending is less than perfect by inserting interesting plot
devices and incidents which sometimes don’t make a lot of sense but go together
to make a really enjoyable story. I was really impressed with the
cinematography and direction too. I loved some of the interesting camera angles
and set ups such as a quick cut of Sandler stood next to a road, first from 90
degrees to his left then 90 degrees to his right. It looked fantastic. The
camera also moves in an incredibly satisfying way. In one scene it pans around
Barry’s apartment, watching him as he paces nervously around. In another it
follows Lena after their introduction. The
film is full of great camera moves. It also features some great visuals aside
from the main body of the film. There are occasional artistic flashes of colour
which separate scenes and they sometimes attempt to creep into scenes
themselves. It added a psychedelic surrealism to the film and I thought it was dazzling.
Even though there is a fantastic acting performance and
great look to the film, the highlight for me was the music. The score makes the
film. It is intense and creates a sense of frantic tension. I’ve read that it
was created in conjunction with the visuals rather than added afterwards and
even played during filming. This really helps to create a sense of urgency and
nervousness about some of the performances. Something else I noticed was the
score’s volume. Generally a score works as a bed underneath the dialogue but in
Punch Drunk Love it is often on a par
with or louder than the dialogue. This places the music front and centre. It
was a bit odd but worked really well. Composer John Brion deserves a lot of
credit where this film is concerned.
Overall Punch Drunk
Love was a pleasant surprise. Despite being a combination of one of my
least favourite genres, least favourite actors and a Director whose films often
frustrate me I absolutely adored it. It isn’t a traditional rom-com and at
times didn’t even try to be as funny as the average rom-com. The drama though
is much more intense, funny and engaging than in anything the genre can throw
up. It also features a terrific Adam Sandler performance, a stunning score and
is wonderfully strange and on edge. Unlike The Master I feel as though I can forgive its flaws as the whole package was
much more gratifying and much less time consuming.
9/10
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