Boogie Nights

Boogie NightsBBB

(out of 5)

No matter how well shot, designed and acted it is, by the end of P.T. Anderson’s porn-in-the-70s epic, patience runs out.  is perfectly cast as a busboy who turns porn superstar when director  hears of his 13-inch penis and, liking his plucky demeanor, welcomes him into his nuclear family that includes den mother  and spoiled brat .  The rest of the cast, including a wonderfully tender romance between  and the marvelous , is first-rate (even if ‘s desperately gay cameraman is off-putting), but at the heart of it is Wahlberg’s wonderfully innocent and well-meaning goof who ends up plunging into the deep end. The last third, which involves a drug lord played by  and a violent shoot-out at his house, is where life gets tiresome for our characters and is equally difficult to endure for the audience.  Anderson sticks to his gift for giving dignity and hope to characters who would be considered sideline freaks in someone else’s film, and that at least provides for the satisfaction of the overdue conclusion.  Moore’s fantastic performance as the always-distracted Amber Waves is the film’s gem, doing a scary job of bringing to life not only her character’s emotional confusion but doing an impeccable job of putting across terrible porn acting.

New Line Cinema, Lawrence Gordon Productions, Ghoulardi Film Company

USA, 1997

Directed by Paul Thomas Anderson

Screenplay by Paul Thomas Anderson

Cinematography by

Produced by Paul Thomas Anderson, , ,

Music by

Production Design by

Costume Design by

Film Editing by

Film Festivals:  TIFF 1997

Academy Award Nominations
Best Actor in a Supporting Role (Burt Reynolds as “Jack Horner”)
Best Actress in a Supporting Role (Julianne Moore as “Amber Waves”)
Best Writing (Scerenplay Written Directly for the Screen) (Paul Thomas Anderson)

Golden Globe Award
Best Performance by an Actor in a Supporting Role in a Motion Picture (Burt Reynolds)

Best Performance by an Actress in a Supporting Role in a Motion Picture (Julianne Moore)



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