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The Unexpected Queerness of Paul Thomas Anderson
How LGBTQ characters and motifs reoccur throughout the (straight) filmmaker’s work.
Growing up as a juvenile gay cinephile can be a lonely experience. While other blossoming movie nerds were able to abscond their lives through films that often doubled as fantasies of falling in love with or pining after a beautiful lady, my helplessly queer 12-year old self often felt left out. Of course, later on, I would discover a plethora of legendary LGBT filmmakers and their works, but at the time my movie school was anything I could find on the IMDb Top 250. These films, while curated by a very select Internet crowd, were full of classics and masterworks that made me feel improved about being depressed, about growing up in a small town, about wanting to become an painter in spite of a regular life; why couldn’t they make me undergo better about my sexuality? And then came the fateful day I start a film making its way up the list; it was the first film I ever saw with a gay personality that wasn’t a campy bit role, and the first film I ever saw that let them act on their affectionate for another man. That film was Boogie Nights, written and directed by Pa
There are unfilmable novels and then there is Thomas Pynchon, the premiere post-modern novelist responsible for celebrated tomes like Gravity’s Rainbow and Mason & Dixon. He is known for producing dense, complex novels that explore themes such as racism, philosophy, science and technology while fusing theological and literary ideas with popular culture references to comic books, films, urban myths and conspiracy theories. Satire and paranoia are common currencies that he uses in his novels. And that’s only scratching the surface.
The 1960s were an important decade for Pynchon. It was at this time that his novels V. and The Crying of Lot 49 were published and the bulk of Gravity’s Rainbow was written. He would revisit the ‘60s again from the perspective of the 1980s with Vineland and, most recently, with Inherent Vice, which was published in 2009. The latter novel has been considered his most accessible work since Lot 49 and has been adapted into a production by Paul Thomas Anderson, the American auteur responsible for such memorable attempts as Boogie Nights (1997), There Will Be Blood (2007) and The Master (2012) among others.
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Inherent Vice
Inherent Vice—A hidden defect (or the very nature of) of a good or property which of itself is the cause of (or contributes to) its deterioration, damage, or wastage. Such characteristics or defects produce the item an unacceptable risk to a carrier or insurer.
Joaquin Phoenix (“Gladiator,” “Walk the Line”) is Larry “Doc” Sportello, a personal investigator who relies as much on marijuana for his investigatory powers as he does on his natural wit and connective thinking. He is approached by his ex-girlfriend, Shasta Fay Hepworth, played by Katherine Waterston (“Boardwalk Empire”), to look into a supposed plot to kidnap her billionaire lover Mickey Wolfmann (Eric Roberts). She believes Wolfmann’s wife and her spiritual coach are planning the abduction to steal his fortune.
Doc accepts the case, partly because of the truth he’s still in love with her. As he starts his investigation, he is hired by a couple other people—an ex-con who seeks one of Wolfmann’s bodyguards, who he met in prison and owes him money, and also by Expect Harlingen, an ex-heroin addict who is looking for her husband, a saxophone player who has disappeared.
As Doc investigates, he discovers links b
Inherent Vice Is Inherently Broken
Joaquin Phoenix. Benicio Del Toro. Josh Brolin. Reese Witherspoon. Martin Short. Sounds like a cast that could be quite entertaining, doesn’t it? You hold Oscar candidates and winners here, established star power. Insert director Paul Thomas Anderson of “Boogie Nights” fame and a script based on a novel by popular writer Thomas Pynchon. This has “can’t overlook Hollywood blockbuster” written all over it, right?
Wrong! “Inherent Vice” misses on every level. This motion picture should only be seen by students studying the art of filmmaking to illustrate what they should avoid doing if they yearn to succeed. I hardly know where to begin portraying this plodding disaster. I’ll sum it up for you in case you have better films to look up today: it’s a little bit “the Big Lebowski,” a whole lot of “Dazed and Confused,” and a fit shot of “L.A. Confidential,” but the sum of those parts is completely unwatchable. Forty five minutes into this mess moviegoers and film critics alike started heading for the exits.
I’ll be the first to admit that stoner humor leaves me flat. It’s barely funny to me in small doses, and movies built around it are completely uninteresting t
Even those who love Paul Thomas Anderson's "Inherent Vice" have discussed how they want to see it a second time. Anderson's films often have that effect on moviegoers, an initial opacity giving way to understanding and embrace.
"I think it started happening on 'The Master' a lot. People said that they wanted to observe it again. And not necessarily in a pleasant way, but maybe in a way that they kind of afforded the film some goodwill even if they didn't really like it," Anderson said during a recent device interview. The impulse for a second viewing of "Inherent Vice," the first screen adaptation of a Thomas Pynchon novel, is compounded by its narrative, a shaggy dog detective story that twists and turns in ways that recall "The Big Sleep" and "The Long Goodbye."
"There's so much facts packed into this publication and therefore the production, that it is a good thing [to notice it twice]," Anderson added, before digressing in a way befitting of his latest feature film. "Oh, fuck, I don't understand. It was certainly not by design! You would never go into something saying, 'Hey, you really have to see this twice!' That's just sort of so horseshit that a director would experience that he could fucking