“Boogie Nights” was director Paul Thomas Anderson’s second feature following a very different and very quiet film debut with the gambling addiction piece “Hard Eight.”
Heck, it’s fair to say all of Paul’s films are very different; here is the seediness of porn while later in his career he will focus on the ruthlessness of a wealthy and angry oil man and then an obsessed dressmaker devoid of care for the models who parade his accomplishments. (See “There Will Be Blood” and “Phantom Thread.”). Paul was definitely striving for recognition with his familial depiction of life in the California pornographic film industry.
What I’ve always liked about “Boogie Nights” was Anderson’s intent to show the naive innocence of this large cast of characters. Filming obliviously awful porn scenarios can still be regarded as proud efforts by its talent.
The main character is Eddie Adams (aka the amazing Dirk Diggler) played with macho pathos by Mark Wahlberg. It’ll likely be the best role of Wahlberg’s entire career. Dirk is proud of his natural talent in front of the camera. He’s even more proud of what God has gifted him. Don Cheadle is another porn star named Buck. He’s also proud of his accomplishments and simply a kind fellow looking to make country cowboy a trendy look for a black man while selling the “Hi-est Fidelity” in stereo equipment on the side. Julianne Moore is Amber Waves, the maternal porn mom of the bunch; very affectionate, very comforting and very reassuring when Dirk shoots his very first porn scene. The one individual who really holds all of this together is Burt Reynolds as Jack Horner, the porn film director. He’s the paternal one who believes in his artistic merits of shooting porn but with a story and only with the integrity of film and never the cheapness of videotape; so Jack is like any artist who insists on a certain type of canvas. He has principles and he has pride.
Anderson is wise in how he divides up the developments. The film begins in the late 70s during evening night life and decadence and everything seems fine and innocent and right despite the endless debauchery of reckless sex and drug use on a Disco backdrop. Wahlberg’s character is welcomed lovingly into this world and nothing appears wrong. It all seems to stay that way for Dirk until New Years Eve, 1979. The 80s begin with a gunshot and then Anderson’s cast must pay for the revelry of their sins. A great moment presented on this night is where Amber Waves introduces Dirk to cocaine. Dirk has been thriving, making money, developing a following and now its jeapordized in one moment thanks to his naivety. Julianne Moore is superb in this particular scene against Wahlberg. She’s the mentor with the peer pressure to pass on her high and keep it running.
Drug addiction, violence, sexual abuse and even changes in cultures lead to hard times for these likable people.
It’s a hard life. It’s a complicated life. Yet it’s not all necessarily illegal. Morally, it might appear wrong, but it’s a life nonetheless.
Anderson was wise to use (at the time, relatively new) filming techniques of Martin Scorsese with rocking period music and fast edits along with savored moments of great steady cam work. One long cut especially works when the film first begins on the streets of Reseda and on into a crowded night club. This industry doesn’t sleep. So neither will the camera that follows it. The music must also be celebrated. I do not listen to Night Ranger’s “Sister Christian” without thinking of firecrackers and a dangerously drug addled Alfred Molina playing Russian roulette. Though I know which came first, I also wonder if Three Dog Night’s “Momma Told Me Not To Come” and “Spill The Wine” by Eric Burton & War was written to enhance the celebratory introduction for Dirk when he attends his first party at Jack’s house. It’s another great steady cam moment from a driveway, followed by steps in and out of Jack’s house to simply a bikinied girl’s dive in the swimming pool. As a viewer I was absorbed in the California haze. Superior camera work here.
The cast of unknowns at the time were a blessing to this film. Anderson writes each person with care and attention and dimension. They have lives outside of this world like Amber’s child that we never get to meet, thanks in part to her lifestyle. She might be maternal but that doesn’t make her a good mother. Julianne Moore should have won the Oscar she was nominated for. Burt Reynolds’ own legacy seems to carry his role. His distinguished silver hair and well trimmed beard earn him the respect of every cast member and he performs with a quiet grace of knowledge, and insight, even if he will inevitably be wrong with how things turn out. Phillip Seymour Hoffman plays the dumb kid Scotty insecure and unsure of his homosexual attraction to Dirk. It’s not easy to play a dumb character when you are not doing it for laughs. Hoffman makes a huge impact with little dialogue but Anderson is wise enough to capitalize on him.
“Boogie Nights” offers one of the best cast of characters and assembled talents in any film ever made. An individual movie could be made about each of these people and it’d be interesting and entertaining.
Try to avoid a blush and mock at the industry depicted because then you’ll see how another walk of life truly lives day to day.
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