Paul Thomas Anderson

NYFF ’15: ‘Junun’ is a brief look at genuine creativity

A long-awaited film for Paul Thomas Anderson fans, Junun doesn’t come as a huge surprise as a next project from a director whose last film took on the immense task of adapting a Thomas Pynchon novel. Instead of jumping right back into narrative filmmaking, Anderson traveled to India and decided to make a documentary.

‘Inherent Vice’ suffers only against Paul Thomas Anderson’s past work

It’s not just that Paul Thomas Anderson’s movies tend to defy any one genre description; it’s that, often, it seems as if the writer-director is trying to play with many genres simultaneously. The only reason that Boogie Nights isn’t the best drama of the 1990s is that it spends a lot of time trying to be the best comedy of the 1990s instead. So Anderson’s newest, Inherent Vice, is a departure in that it mostly sticks to one style (sun-drenched film noir) and one tone (absurdist comedy). It’s also a fine film, which suffers only when measured against the insanely high standard that Anderson’s past work has set.

NYFF 2014: ‘Inherent Vice’ suffers only against Paul Thomas Anderson’s past work

It’s not just that Paul Thomas Anderson’s movies tend to defy any one genre description; it’s that, often, it seems as if the writer-director is trying to play with many genres simultaneously. The only reason that Boogie Nights isn’t the best drama of the 1990s is that it spends a lot of time trying to be the best comedy of the 1990s instead. So Anderson’s newest, Inherent Vice, is a departure in that it mostly sticks to one style (sun-drenched film noir) and one tone (absurdist comedy). It’s also a fine film, which suffers only when measured against the insanely high standard that Anderson’s past work has set.

Inherent Vice

NYFF 2014: ‘Inherent Vice’ a narcotic vision that demands multiple viewings

Even if you were not around during the 1970s, Inherent Vice comes across as a faded, nostalgic memory. Being a faithful adaptation of Thomas Pynchon’s novel, the film recounts the dying days of the free love era, laced with the look, feel and paraphernalia of the subculture. Anderson’s comedic thriller peppers itself with restless, almost out of place laughter, while dedicating itself to the themes of the early Seventies. One is reminded of private-eye classics such as Roman Polanski’s Chinatown and Robert Altman’s The Long Goodbye, with traces of Zucker-Abrahams comedies like Airplane! and The Naked Gun. For many, the homage to 1970s filmmaking will be a very real and thrilling look down memory lane. For others, it’ll be a history lesson like no other found in modern day filmmaking.

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