In scope and form, magnolia is trodding no virgin territory. The most basic descriptions of Magnolia — its length, its diverse cast of characters, the barest outline of its many plots, even its apocalyptic climax — suggest similarities to the work of Robert Altman, particularly Short Cuts. But beyond noting surface similarities — especially to the geographic and emotional terrain of Short Cuts los Angeles — the comparison is most useful in drawing some distinctions. Altman is often accused of being misanthropic, but a better term would be clinical. In Short Cuts, altman documents his characters lives largely from the outside, letting them hide behind big-city blankness. Except for a grieving couple, one never gets a sense of the characters pain, aside from the petty things that set them off. The audience sees the cops affair without understanding why he strays. We watch the pool cleaners jealousy at his wifes phone-sex business, but that alone world cant explain why he snaps. Julianne moore parades around without skirt or underpants, a physical state meant to show her emotional vulnerability, but it doesnt succeed precisely because the character is so withdrawn.
The mans son will be unmasked as a fraud, on national television. A boy will embarrass himself on a popular game show. That shows host collapses spectacularly, also on live television. His wife will leave him to comfort their twist daughter. The daughter will try to sabotage a potential romance with the cop, who will be full of shame on their date for having lost his gun. And a former boy genius will try to burgle the office of his former employer, only to be steered right by the cop. Several major storylines converge, and all the strands come together at two crucial points late in the movie, in a quiet moment of reflection and song, and as a fury of frogs is unleashed from the sky.
Its meanings will be different for different viewers, but this movie needs to be rescued from ill-considered critical muggings, even if some pundits were gushing. Magnolia focuses on the stories of nine major characters — most of whom are or have been involved in television — over the course of twenty-four hours in Californias San Fernando valley. The stories are intercut and unfold linearly. A number of characters are already in the midst of crises as the film begins, afflicted with terminal illnesses or on the brink of emotional breakdowns. Other characters over the course of the movie will be forced to struggle with their own challenges and adversaries, present and past, present and absent. And a pair of sweet, decent people — a cop and a nurse — will struggle but ultimately guide others, helping them to better places. It will be an eventful day. One man will die. His wife will overdose.
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Its a mistake squared. The third nearly universal comment on Magnolia is even more puzzling. The film coheres from its first frame to its last, with every major story reaching a logical conclusion and only one questionable stray thread — involving a young rapper and a man who shoots at a cop. It would appear that critics applied the movies disarray of the movies characters to the movie itself. If the train-wreck metaphor is appropriate, it is grandly misused: Magnolia is about a train wreck, not one itself.
Beyond these questionable pronouncements from critics, few arbiters wrote anything interesting about Magnolia. Their final judgments seemed functions of what they paid attention to in their reviews — the three ironic stories of the prologue, a sing-along, a rain of frogs, the number of characters and their obvious connections to each other. These are stylistic affectations and narrative givens, headline and focusing on them at the expense of the rest of the movie diminishes Magnolia s impact. Theyre important — perhaps even critical — and its perfectly appropriate to question Andersons choices in building the movie, but they must be considered in context, and with an attempt at understanding their functions. In fairness, magnolia is an overwhelming experience, big in every way, and its hard to blame anybody for fumbling around with it on a deadline. What critics (and perhaps audiences) missed was that Magnolia fulfills its ambitions as a resonant, narratively dense, and thematically rich work of cinema planned and executed with grace, style, and economy.
A frantic, flawed, fascinating film that is both impressive and a bit out-of-control, often at the same time, magnolia may occasionally overshoot its mark, but its the kind of jumble only a truly gifted filmmaker can make. — kenneth Turan, los Angeles Times, messy is probably the best word to describe paul Thomas Andersons. Magnolia, a grandiosely sprawling, audaciously earnest concoction. A magnificent train wreck of a movie, an intimate epic of full-throttle emotions that threatens to go off the rails at any moment. —, sight and sound, for a movie that sets itself up as being about coincidence-not-coincidence, its no small irony that intelligent critics wrote virtually the same things in assessing.
Magnolia : ambitious, banal, and a mess, or variations thereon. Theres little disagreement on the first item, a backhanded compliment that naturally leads to number three. Number two is troubling for several reasons. For one, reducing any film to its lesson automatically renders it banal; theres nothing new, and no movie that arguably has a lesson can escape. Second, distilling a complex work to one sentence is glib and unfair. Its akin to pointing to a stroke in a painting or a series of notes in a symphony and saying: This is the essence of this work, and this essence is a cliché.
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Andersons third feature is clearly an adult film, documenting physical and emotional breakdowns and touching on issues from incest to adultery, abandonment to exploitation, identity to forgiveness over more than three hours. It has its share of self-indulgence and tricks, but its one of the most humane and honest movies in recent memory, among works that aspire to something beyond cliché and formula. Film critics were torn about, magnolia, generally awed by its audacity and its technical and narrative sophistication but hesitant to fully endorse. For many, the movie seemed hamstrung by some irreconcilable contradictions: that a movie seemingly review so narrowly trained on chaos and pain could find peace in simple truths, that a text framed by postmodernism and punctuated with ridiculous and surreal blasts could resolve itself with earnestness. Everyone has a favorite bad movie; Magnolia is a rare case of a great terrible movie. Most of it is fairly commonplace, arthur Miller-type stuff about how you cant escape the past, you cant escape the evil youve done, and what we all really need is to be truthful with one another. — david Denby, the new twist Yorker.
Three kings stirred moral awakening into a mix of war and treasure-hunt motifs with subtle grace and great humor. Fight Club took incendiary if juvenile politics and a masterfully set-up twist and turned them into a nightmarish, funny screed against consumerism, cults, cleanliness, self-help movements, and terrorism. And amid all this self-conscious, detached hipness was paul Thomas Andersons. Magnolia, a movie that ultimately feels closer to the simple earnestness. Toy story 2 and, the Iron giant than to any of those films, in spite of its conceits, its running time, its structure, and its subject matter. Magnolia breaks through the self-aware emotional vacancy of the decades cool movies (both sterile and knowingly clever, epitomized by quentin Tarantino) without losing its edge; presentation it gets inside its characters minds and hearts with dazzling style. It is afraid of neither elaborate tracking shots nor a good, fairly won cry.
closing, magnolia s prologue. In the bracing cinema of 1999 — perhaps the best year ever for intelligent American studio films — screens were filled with strangeness. Being John Malkovich got inside the head of one of actings giants. A plastic bag flitted in the wind with great artistry. American beauty, and a self-involved middle-aged man showed tenderness to the half-naked teenager trying to seduce him.
This can be a report series of photographs around a more abstract idea such as love, health, hope, poverty and. A photo essay is something designed for publication, either in print or on the internet. . The guidelines below are based on the idea of an article presented as a series of two-page spreads as you might find in a newspaper or a magazine. The guidelines refer to a photo essay i created from photographs by a friend of mine, a chinese photographer called li jin who visited Sichuan after the earthquake in 2008. You can watch the slideshow first (full screen is best) then read on below. (This is an in-progress work on paul Thomas Andersons. New sections will be added as theyre finished, but dont hold your breath.). And it is in the humble opinion of this narrator that this is not just something that happened.
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Are you looking for photo essay ideas or want to resume know how to create photo essays similar to those in magazines? Just follow the guidelines below and you will be making your own photo essays in no time. Before we get started, you need to decided which of the four basic types of photo essay you are looking to create. Event photo essays, this type of photo essay centres around an event, usually a news type event such as an earthquake and so on but could be smaller scale such as a local wedding. Also, it could be quite linear (for example, following chronological events within the bigger event) but not always. Any linear sequence of events such as a news event comes into this category. The time span can be one day day or one year or even a decade or two or longer. These can be done locally or when travelling and are usually thematic rather than linear.