Double Mise

"Sydney" is the first film from director Paul Thomas Anderson better known as the director of "Boogie Nights", this years loathed and loved "Magnolia" and several Fiona Apple videos. This film is essentially about a man who seems to pick up kids off the street (John C. Reilly, Gwyneth Paltrow) and teach them the ways of the casino and gambling and helps them out. Sydney knows everything about everything, the man is flawless, or is he? Paltrow is good as a waitress who just can't stop prostituing herself. Reilly is funny and sweet as John the serrogant son of Sydney. Jackson is slimey, sleazy and somehow likeable as only Jackson can be. And of course Philip Baker Hall as Sydney is amazing. "Sydney" is merely a taste of what was to come from this young director. There are some long steadicam shots and there is the funny, Tarantinoish (minus much of the swearing and less pop culture references) dialogue. Anderson knows how to use a camera and editing to their full effect and make a scene that could be boring if directed by anyone else, exciting. Look for cameos from many future Andersonites (Philip Seymour Hoffman, Robert Ridgely) The film is a cut above most crime thrillers, this one is more light hearted (for a crime movie, it's not light hearted for say a romantic comedy, no no :), funny and even touching in some parts. If you are a fan of Anderson rent this, see how he has increased his creativity and grown on his talents since this film. If you are not a fan of Anderson rent this, cause if the things you didn't like about Magnolia were the long running time and some pointless steadicam shots, you'll be happy to see this one is little over 1 hour 40 min and only has several long steadicam shots that are used for a reason. Listen for the great score by "Boogie Nights" composer Michael Penn and "Magnolia" composer Jon Brion and a Christmas song at the end credits by Penn and his wife, "Magnolia" soundtrack star Aimee Mann.

Hard Eight (1996/Paul Thomas Anderson) ***1/2 out of ****

The camera opens to a diner called "Jack's Coffee Shop". A semi is pulling out of the parking lot. After it pulls away, two people are revealed. A young man sitting by the door with his face to the ground, and an older man who is walking towards him. Even though we can't see his face, we know he is old, just by the way he moves. He asks the young man if he would like some coffee and cigarettes. And this is how Paul Thomas Anderson's first film begins.

"Hard Eight" is about a down and out loser named John (John C. Reilly), who sits outside a diner, until he is encountered by a mysterious old man named Sydney (Philip Baker Hall). Sydney offers him $50, and a lesson in gambling. Before to long, they are in Reno, making lots of money. Then two people get in the way of their friendship: Clementine (Gwyneth Paltrow), a hooker/waitress; and Jimmy (Samuel L. Jackson), a mischievous security guard who seems to be hiding something.

I never thought that Paul Thomas Anderson could make such a grounded film with substance. His usual films are flashy ensembles, and they move fast. But "Hard Eight" is a different story. It is a slow paced Film Noir, that is both quiet and observant. The cinematography is drab, and the direction is tranquil. Philip Baker Hall and Paltrow turn in good performances. But it is Jackson who really shines. The twist could have been over done, but instead, it is handled nicely and effectively.

"Hard Eight" is by far one of the most interesting character studies of the 90's. I like this cool side of Anderson, and I wish he would use it more often than his usual over the top formula (although I like both). This is no classic, but I found it worth buying.

-30-

This first film from Paul Thomas Anderson shows the promise he would later fulfill with BOOGIE NIGHTS. The writing here is as sharp as it was in the later film, but it must be said as a director, he sometimes lets scenes go on too long (ironic that BOOGIE NIGHTS, which is a longer film, is also a tighter one). The main connection between both films is Anderson's obvious affection for his characters. Also the relationship between Sydney and John doesn't turn out the way you'd expect. And Anderson is to be commended for avoiding melodrama.

Philip Baker Hall is one of those actors who you may not know by name, but when you see him you instinctively feel he's right for the part, no matter how small. This is one of his rare leading roles, and he's perfect, showing the character's success and also his loneliness, without sentimentalizing it. John C. Reilly is properly eager and naive as John. Samuel L. Jackson is dependable here, and Gwyneth Paltrow proves she doesn't need a British accent to give a good performance. She and Jackson should also be commended for backing Anderson when he had problems with the studio.

Most people didn't catch this movie when it was released (in the cinema or on video), but did discover Paul Thomas Anderson's work with the phenomenal "Boogie Nights." Make no mistake: this film is every bit as good, perhaps better, than "Boogie." It's a small film whereas "Boogie" is a huge film, but it's packed with outstanding performances (many from actors and actresses who would go on to appear in "Boogie"), a great script (and a tighter story than "Boogie"), and the same fantastic direction. Everyone who loved "Boogie," and even those who didn't, should go back and rent this film. A very stylish, moody drama/mystery.

Philip Baker Hall's Sidney kept me riveted from the first scene to the last. He play the mesmerizing, enigmatic title character with rare mastery and grace. The supporting characters are no slouches either. John C. Reilly is marvelous as Sidney's sweet, if somewhat slow witted protege. Samuel Jackson could have easily coasted on this one, simply repeating a performance from any of a number of previous tough guy types. Instead he creates an entirely new character, one with a reptilian quality not seen in his usual thugs. Even Gwenyth Paltrow is unusually strong as Clem, the waitress who wants it understood that, even if she sometimes sleeps with men for money, she is definitely NOT a prostitute.

I've been a fan of PT Anderson for a while now, and this film gave me new insight into why it is I like him so much. Anderson is that great rarity in modern filmmaking, an actor's director. He gathers terrific actors and inspires them to career-topping performances. There's no fiendishly complex plot here, no nailbiting suspense, no big payoff at the end. Just marvelous actors making the most of an excellent script.