He has glided the film gracefully among seemingly unrelated episodes, keeping the viewer eager for all the pieces to fall into place. He has set up another Altmanesque swirl of intersecting stories, much as he did in "Boogie Nights," with many of the same cast membersĪgain assembled to form a charismatic ensemble. Until that point, the colossally talented Anderson has seemed bound for glory. Jason Robards, right, and Philip Seymour Hoffman in "Magnolia." But the effect is less that of a collective shiver than of directorial desperation. going to stop," each one sings resignedly, signaling the approach of an impending group meltdown. A song bursts out: it is heard first from one character, then from another, until all the film's assorted lost souls are brought together by a single anxiety-ridden refrain. He great uh-oh moment in Paul Thomas Anderson's "Magnolia" occurs about two-thirds of the way through this artfully orchestrated symphony Paul Thomas Anderson: A Valley Boy Who Found a Home Not Far From Home (Nov.FILM REVIEW `Magnolia': Twists of Fate in L.A.
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