Movie Review: Boogie Nights

This movie has it all: sex, drugs, glamor, murder, Mark Wahlberg, and an amazing script and cinematography. Directed and written by Paul Thomas Anderson, one of the most acclaimed contemporary auteurs, this, his second feature film, marked him as a “big bright shining star,” to quote Wahlberg’s character.

Though the focus is on a young porn star named Dirk Diggler, played by Wahlberg, there is a large supporting cast, each with their own compelling side plots. The film follows them through the exciting 70’s until the mid 80’s, when changes in the porn industry and various excesses start catching up to them. It can get dark, particularly in the second half, but comic undertones scattered throughout prevent the story from getting too heavy, and here lies one of the movies greatest strengths: the movie flips from laugh out loud to nail bitingly tense (like the famous drug dealing scene) and makes sure none of these switches are out of place.

Despite PTA being only 27 when this was released, he clearly knew what he was doing. From the 2 minute long opening shot to the well-constructed script, already at a relatively young age PTA knew what he wanted and how to get it across on screen. The idea had been gestating in his mind for a while; it is actually an expansion of a short mockumentary film he made with friends when he was 17, called THE DIRK DIGGLER STORY. Though BOOGIE NIGHTS sheds the documentary feel and introduces a lot of new characters, the main plots in both are comparable.

If there is a flaw here, it is that some details get cut out due to the long length. At just over two and a half hours, there is not much room to stay and linger on certain side characters, and yet that is what’s needed—PTA even admitted that if there was one thing he could change, he would grant Diggler’s abusive mother more screen time. Other characters would have benefitted just a little more time in the spotlight, such as Philip Seymour Hoffman’s character, who has a falling out with Diggler on screen and an apparent reconciliation off screen.

For those not turned off by the pornographic premise, this is not one to be missed, and for anyone interested in film, I’d say watch it even if the subject matter disinterests you. It is a great offering by one of the best currently working directors, with some fans (me…) even ranking it above his more famous THERE WILL BE BLOOD. It is a great addition not just to PTA’s oeuvre but also to world cinema.

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