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Posts Tagged ‘deeply confusing’

Have you ever had that experience when someone or something gives you such a moment of concentrated rapture that it puts you in their power forever after? It doesn’t matter how frustratingly non-rapturous subsequent encounters with said subject is, you are always inclined to cut them some slack simply because, well, you can’t escape that one moment when everything was utterly, obliteratingly perfect.

I’m really starting to feel that way about Paul Thomas Anderson. My big shiny moment with this guy came fifteen years ago, with the release of the extraordinary Magnolia, a film which instantly rocketed onto my list of all-time favourites. (Truth be told, I don’t think I’ve watched it in over a decade: perhaps I’ve just been afraid to discover time has not been kind to it.) That film was enough to make me turn up to practically every Anderson movie since – Punch Drunk Love, There Will Be Blood, The Master, I’ve been there for all of them, and found myself having to contend with my own bemusement: for all of these films are clearly the work of a master, but a master who seems to be deliberately underperforming.

Nevertheless, I’ll keep coming as long as he keeps filming, because none of these films have actually been anything less than striking and memorable. So it was that I turned up to his latest offering, Inherent Vice, an adaptation of a novel by reclusive American novelist Thomas Pynchon.

inherent vice

Set in Los Angeles in 1970, the story is that of hippy private detective Larry ‘Doc’ Sportello (nicknamed thus presumably because he meets clients in the back of a doctor’s surgery), who is played by Joaquin Phoenix. The film opens with him taking on a number of apparently disparate cases: his ex-girlfriend Shasta (Katherine Waterston) believes her new beau may be in danger of kidnap by his own wife and her lover, a Black Panther hires him to track down a Nazi skinhead who owes him money, and a young widow (Jena Malone) wants him to help confirm her belief that her husband (Owen Wilson) may not be as dead as has been widely advertised. Despite being medicated to the point of semi-consciousness much of the time, Doc sets to work, and discovers strange connections between all three enquiries: namely, a secretive organisation known as the Golden Fang. Between the perils of the cases and the hostility of the local detective (Josh Brolin), will Doc be able to uncover the truth?

Well, normally spoilers would dictate me giving away the ending, but in this case I’m not entirely sure what the ending is. You know how most people don’t remember anything about their lives prior to the age of four or five? I’ve always thought this is because when you’re really young, you’re not aware of what anything around you actually means, so you can’t store it in your memory – in the same way it’s much easier to remember a sentence in English than one in a language which is completely alien to you. Well, in the same way, sort of, my memory of much of the latter stages of Inherent Vice is deeply confuzzled, because past a certain point I had absolutely no clue what was going on. The basic connections of the plot just weren’t there, and I was left with a sequence of scenes in which various characters appeared and had conversations which I almost understood, but which had only tenuous links with the scenes preceding and following them.

A wise friend observed to me that this narrative incoherence is all part of Anderson’s intention for the film, which is to recreate the experience of being deeply stoned without the actual need for pharmaceutical ingestion. I’m not so sure, but it is true that Inherent Vice remains a crazy, distinctive trip. Anderson has assembled his usual excellent cast, including people like Benicio del Toro, Reese Witherspoon, Martin Short, and (cameoing) an on-form Eric Roberts, and it’s never actually boring to watch. Phoenix gives another charismatic, hugely likeable performance as Doc, and it’s just a shame that the actual narrative doesn’t live up to those of some other films in the LA private detective genre.

I’m thinking of things like Chinatown and even The Rockford Files (which features an equally amiable anti-hero), but the stoner-on-a-mission plot most recalls The Big Lebowski. This type of story has a noble history, going all the way back to Raymond Chandler, of using the detective genre to say things about the nature of wider society. Much of Inherent Vice is so bizarre and disjointed that it’s hard to tell if it’s attempting to make such a comment: but I suspect the title may be significant. It refers to the extent to which many things are fragile and perishable by their very nature: nearly everything turns to rubbish in the end. It’s a downbeat message for a film which is about characters who mainly seem to be trying to live in the moment. I suppose a further theme is that Doc and his stoner friends, who are despised by ‘respectable’ society, actually have more decency and integrity than the police, businessmen, dentists, and so on. But I am hesitant to claim too many insights, for obvious reasons.

It’s never actually dull to watch, and Anderson displays his usual technical mastery: here he shows a great fondness for the occasional very long take, usually in a two-handed scene. The film is full of wit and incident, and in its early stages is frequently very funny, though it darkens considerably as it goes on, and the ending, to the extent that I understood it at all, seemed rather ambiguous.

Inherent Vice has had some glowing reviews from respectable critics, which means one of three things: a) the press pack contains a detailed synopsis allowing them to follow the plot while watching the film, b) their refined sensibilities allow them to enjoy the cinematography, direction, and so on, without having to worry too much about the story making sense, or c) proper critics are just really, really clever. My money’s on b), to be honest. In any case, I’m reluctant to dismiss this movie out of hand: it has that aura of class about it, for all that the actual narrative is maddeningly obscure, to the point of virtually seeming incoherent. But then again, I’m inherently biased where Paul Thomas Anderson is concerned.

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