Sir Edmund William Godfrey
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My thoughts on MAGNOLIA echo PTA's own. He himself said upon rewatching it that he should have chilled the fuck out. It's a movie where he is literally throwing everything he can at you (the audience) to make you feel sad and depressed and lonely. It's literally a movie about the sadness of life, that's it.
Jan 7, 2000 · Roger Ebert. January 7, 2000. 5 min read. “Magnolia” is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film.
Nov 27, 2008 · Tales of loneliness, in full flower. “Magnolia” is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, “We may be through with the past, but the past is never through with us.”. In this wreckage of lifetimes, there are two figures, a policeman ...
Magnolia is a 1999 American drama film written, directed and co-produced by Paul Thomas Anderson. It stars an ensemble cast , including Jeremy Blackman , Tom Cruise , Melinda Dillon , Philip Baker Hall , Philip Seymour Hoffman , Ricky Jay , William H. Macy , Alfred Molina , Julianne Moore , John C. Reilly , Jason Robards (in his final film role) and Melora Walters .
Magnolia is even longer, but it's filled with such a spectrum of touching stories and such a quantity of wonderful characters, that I didn't even notice the three hour length. Magnolia is a mosaic of intertwining and intercepting stories, dealing with such issues as forgiveness, hurt, redemption, sin and the role of chance in our lives.
Aug 31, 2021 · Here, he plays Officer Jim Kurring, a simple, pure-hearted cop who soliloquizes alone in his car about trying to do good as we move through this life. Responding to a noise disturbance puts him in ...
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The past, like a raging storm, is about to burst on those who imagine they can forget it. Anderson is nothing like Altman, as it turns out. His humour is blacker. He allows scenes to find their space, lingers long on a face, or a moment, without comment. Although there is no plot, there are many, and not all have endings.
