Boogie Nights

What About It?
Boogie Nights is a specialized cousin of a classic Hollywood success story. It owes as much to Charles Dickens however, as it does to Horatio Alger, covering both the rags to riches story and the orphan finds a family story. Like any Dickens character Eddie/Dirk is unremarkable except that there's something special about him which exactly the right people recognize. In Dirk's case, it happens to be his penis, and related abilities, which makes him the perfect choice to be a porn star. We know that Eddie has ambition and a belief that he'll be a star, but given what we're shown of his intellect, coincidence is as much a factor to his success as his unusually large penis. The moment that Jack Horner discovers him reveals nothing of his physical attributes other than that he has a look which Jack recognizes. Jack seems genuinely surprised to learn of Eddie's $5.00/$10.00 peek a boo shows, and likewise Jack seems surprised to learn who Jack is, although once aware, he recognizes his work. Even so, Eddie is dragged into his success, turning down the chance to have a drink with Jack and offering some reluctance to take a ride in Jack's car (although, impressionable as he is, he doesn't require much convincing)

Eddie isn't an orphan, however, he has a family. From what we're shown however, they're nothing positive for him, his mother seemingly unable to offer anything but a barrage of emotional abuse based on reinforcing his worthlessness. Lacking talent, skill or intellect, Eddie turns his hopes to his "gift." He works in Reseda in a club that caters the successful, hoping that this will lead to a lucky break (and in a very Dickensian fashion, it does.) His father is no help whatsoever, being completely cowed by his wife. Eddie is not an actual orphan, but he is in any practical sentence, having no support, other than a place to sleep. Initially his quest is to amount to something, believing that success will give him an identity to be proud of. He very quickly abandons being "Eddie," choosing to be Dirk Diggler all the time. His new family allows him to sustain his new identity as they've all done the same thing, most notably in the case of Maggie/Amber Waves. She provides him the mother figure he thinks he should've had, loving him unconditionally, and seeing something "special" in him. She also encourages his sexuality quite directly, as his first sex on film is with her. Jack is the father he'd like to have, so in charge of everything that he controls everything around him while sitting back in his director's chair. The environment being porn production, his sexual expression is not only encouraged, but necessary. This is in contrast to his mother, who is fixated on demonizing Eddie's girlfriend as a slut to prove Eddie's worthlessness. Since all of Eddie's hopes depend on his sexuality, the difference is a vital one. When he first starts, Eddie is determined not to rely simply on his large penis, but must take pains to make sure the scenes are "sexy." His first sexual act in their company (with Rollergirl) is performed off film, with Jack watching. Eddie/Dirk feels completely validated initially, his "specialness" being recognized, and used.
However, success is not something that Eddie is in any way prepared for. The adjustment from emotional impoverishment to enthusiastic acceptance proves to be too much for him. His attitude shifts from gratitude to entitlement. Even this is tolerated, until his growing drug habit takes its toll physically making him look terrible and even worse robbing him of the ability to use his "special gift." As enthusiastic as Jack was to welcome him into the fold, he is unable to tolerate Dirk when both his ego and his lack of performance become too difficult to handle. Jack's first priority is looking for talent, and making money with it. Dirk is threatened when Jack finds another "new boy on the street." This (along with his drug habit) leads to his outburst with Jack, and their parting of ways. In a sense Dirk is undone by the fact that his special gift is not so special in the porn industry, just the expected equipment. Essentially his success, is only a chance to be common in a different circle. He can't be "special" if he can be replaced. Mark Wahlberg plays Dirk Diggler convincingly and it's easy to believe every extreme of his personality, from good natured and grateful student, to paranoid, drug addled maniac.

Jack Horner has quite a journey here himself. He makes his money on sex, yet views sex as nothing more interesting than acting. He lives with Amber Waves, yet there appears to be no sexual interest whatsoever. Jack thinks of himself as an artist, and film is what he loves. His dream of making a film that keeps people watching after they come reveals a lot about him. He takes his duties as a director very seriously, with an eye always out for talent and much devotion to watching over the talent he has. He's interested in sex, like a painter is interested in paint. The advent of digital tape however puts him in a spot, not too far from Dirk's predicament. Film is what makes Jack special, without it he's nothing, as anyone can shoot on tape and the lower cost makes talent less important. Like Dirk, he achieves his goal, making what he considers "a real film" using Dirk's "Brock Landers" idea, and ultimately achieving his goal proves unfulfilling as he must continue to live after he's done it.

We see that Dirk's original idea to be different than the John Holmes films by being sexy and not slapping women around, is eventually abandoned and the Brock Landers films end up in the same territory as Holmes'. Jack has to relent on his comittment to film and tries to adjust to video, attempting a series with Rollergirl, which we see doesn't go well. Jack is not skilled at handling the spontaneous, and Rollergirl is not equipped to deal with someone who knows where she came from. Jack endures however, because he knows who he is, unlike anyone else around him. He has to know who he is, as he's become a caretaker of people pretending to be different people. Despite his remoteness from the sexual act, Jack has genuine concern for these people. He needs to take care of them as much as they need to be taken care of. Burt Reynolds gives much depth to the part in one of the best roles of his career.

Julianne Moore also gives a tremendous performance as Maggie/ Amber Waves. Jack describes her as "a wonderful mother, a mother to all who need love." And she Moore does a remarkable job getting this across. However, like Dirk and Jack, the means with which she can "mother" are limited. She can care for and encourage her porn family, but isn't able to take care of her actual children a fact she is unable to come to terms with. Like everyone in her sphere, Amber is lacking certain tools. Her unpreparedness at the hearing for custody of her children shows how out of touch she is with the practicalities of being "Maggie."  In her "family" with Jack all that's required is for Rollergirl to suggest that she be her mother, and they both agree on it. She is not blind to this fact and points it out herself that Dirk replaced her own kids (since she couldn't see them)

Heather Graham is great as Rollergirl, a character who has no idea what she's doing most of the time, and isn't interested in knowing more. Like all of them, she simply wants to disappear into the role she's created. She isn't as accepting as she tries to appear however, and a reminder of where she came from is enough to unhinge her completely, changing her from utterly docile to murderously violent. Although she tries to maitain the appearance, she is not ok, with who she is. John C. Reilly's Reed Rothchild is different than the rest of them in that we don't see him playing two personas. He has little ambition, other than the habit of lying to inflate his own importance. His affability proves a good fit for Dirk's temperament, in that he is perfectly comfortable playing the sidekick, once he and Dirk are friends. Friendship seems to be Reed's main desire.

Phillip Seymour Hoffman's small part as Scotty J. is similar, except that he can't help but want more than friendship. His social skills are lacking however, and he can't help but make a romantic advance on Dirk, settling for friendship seemingly gratefully, for the chance to remain close, even if the relationship is entirely masochistic. Thomas Jane's, Todd is an element of overlap. He is not quite in their world, but touching it as an adult dancer, until the drugs become their common bond. It's obvious that he's an outsider though, and this leads to his surprise behavior at the drug scam. Luis Guzman's Maurice is always entertaining. Alfred Molina's brief role is hilariously over the top and frightening at the same time.  Don Cheadle's Buck Swopes is also great as a kind of misfit in the group, being the only one with aspirations outside of porn. He benefits from another Dickens type twist, having the money fall on the ground in front of him with no witnesses left alive.

William H. Macy is top notch here. His Little Bill serving as a reminder that despite the group's dedication to pretending, all is not ok. He routinely endures his wife's blatant humiliation of him, until it becomes their ritual, she having sex with someone else openly, he becoming outraged before walking away. Even in this environment, sex is more than acting, and can be dangerous in ways that no one can predict. In this situation, with sex treated as a product, performed by sexually damaged people, there are bound to be consequences, Little Bill's murder/suicide being the loudest example. Everyone here is damaged, but they have no other way to be. As much as they try they can't always be the people they've invented because they all came from somewhere, and the problems they had are still inside them. Even when they achieve their goals, they're left unsatisfied.
P.T. Anderson creates a world of specialized celebrity and damaged success. The casting is perfect and the dialogue is masterful. We see a world that shifts from impossibly bright to unbearably dark in an instant, success being as temporary as a sexual act. These are characters who can't look at their own stories and finding "success" suddenly, they end up facing huge problems without the tools to deal with them.

Much of the world in Boogie Nights is cold and hostile, but at it's heart, it's really a movie about finding people who care about you, and defining your own sense of family. Dirk and everyone else Jack has taken under his wing are all limited, but they make sense to each other. Their "family" is based on pornography, but ultimately that's just their common banner. Buck gets out of the business but remains a part of Jack's family. Maurice never really gets into the business except for bit parts, but spends his free time in Jack's kitchen. Dirk is accepted back like a prodigal son. When he says "I'm sorry." Jack says "I'm sorry too." and we truly believe them both.

Despite the perceived shallow nature of their business, they all put themselves into it, forming a shared mythology where no one is ever thrown away. We even see a painting of Little Bill, when Jack walks the house like a tour guide at the end. It's an unexpected moment of grace, that despite all their failings, Dirk and his friends succeed in finding others who genuinely care about them, a sense of family that wasn't offered any other way. It's an ending  truly worthy of a Dickens story, tragedies, cruel turns, unlikely coincidence tying everyone together, everyone who works getting rewarded, but mostly Dirk Diggler as our Oliver Twist, (by way of John Holmes) finding people who love him in the end.




What Happens?
Boogie Nights opens on the street outside "Hot Traxx," a busy nightclub in Reseda, CA. We see Jack Horner (Burt Reynolds) step out of his car, along with his companion Amber Waves (Julianne Moore) both, oblivious to the long line to get in. Jack is greeted enthusiastically by Maurice TT Rodriguez (Luis Guzman) the club owner, who tells them he's been upset because they haven't been by in a while. They agree never to stay away that long again. He shows them to their own special booth and tells Jack he's ready and willing to be in a movie before walking off to keep an eye on his club. Maurice stops to talk to Buck Swope (Don Cheadle) and Reed Rothchild (John C. Reilly) two adult film actors who are on the dance floor. Maurice sends Jack some free food, and Jack and Amber are visited by Rollergirl (Heather Graham) who roller skates up to their table. Amber reminds Rollergirl to call someone and noticing her holding herself asks

Hard Eight

John (John C. Reilly) sits against the wall, outside the entrance of Jack's Coffee Shop. We approach him as a man, Sydney (Philip Baker Hall) walks up to him. Sydney offers to give John a cigarette and a cup of coffee. John seems suspicious of the stranger. Sydney asks John, "Come from Vegas? Reno?" and John says he was in Vegas. Sydney then asks if he lost money, but John says he broke even. Sydney asks if he knows how to count cards, and John says no. Sydney then volunteers some advice:
Sydney: In my experience, if you don't know how to count cards, you oughtta stay away from Blackjack.
John: Well, thanks for the tip, Mr. Helpful.
Sydney: Hey John...
John: What?
Sydney: John, we're sitting here. I bought you a cup of coffee. I've given you a cigarette. Hey John, look at me. [John looks] You want to be a wise ass, go outside and take a seat. If you want to talk to me. If you want to talk to me, well then...Never ignore a man's courtesy. Let's talk about Vegas. Let's talk about what happened to you. If something did happen, maybe I can help.
John: You want to help me?
Sydney: You look like a man who could use a friend.
John: You want to be my friend? Then give me $6,000.00. Do you have that? Can you give a total stranger $6,000.00, because that's my trouble. OK?
Sydney: What do you need $6,000.00 for?
John: I need it.
Sydney: For what?
John: TO bury my mother.
Sydney: You went to Vegas to win some money...
John: No, I went to lose some money...
Sydney: You went to Vegas to win some money to bury your mother? To pay for her funeral? That is very admirable. I admire the intention. I can't say it's wise, though.
John: Do you have $6,000.00 to give me?
Sydney: No, I can't.
John: I didn't think so.
Sydney asks if he has any family or anyone else to turn to, and John says he's alone. He offers to loan John $50.00 if he'll go back to Vegas with him, and to show him what he did wrong. John asks him "What are you St. Francis or something?" When he says no, John says "He then asks "Are you looking for a fag? Because I'm not some boy hooker, if that's what you're after." Sydney says "I'm not looking for a hooker, John. I'm offering you a ride. I'm offering to teach you something." John replies "Well, I'm telling you something right now. I don't suck dick, Ok?"
Sydney: I understand that. And, this is the last time I'll ask. You want my help?
John: I'll fuck you up if you fuck with me. I know three types of Karate; jiu jitsu, aikido, and regular karate.
Sydney: Ok.
John: Alright. A:  give me a ride. 2. You give me $50.00 and C., I sit in the back. And, believe me, if you pull anything, I will fuck you up.
Sydney: I believe you.

John gets in the car, sitting in back like he asked. Before long he asks Sydney to pull over, so he can sit in the front. He bums a cigarette from Sydney, but turns down the matches Sydney offers, claiming that he has a rule never to use matches due to a bad experience he had with a book of matches going off in his pocket once. Sydney asks him what he'll do with his $50.00. and tells him that if he plays it a certain way, hard enough and long enough, he can get himself a room and a meal, but he adds, you won't win your $6,000.00. John agrees to play for a room and a meal. They get to the casino and Sydney tells him to shave and clean up and then to come meet him. When he's cleaned up, Sydney tells him he'll actually need $150.00, not $50.00 and then tells him to ask for the floor man, and tells him what to say to him, and to ask for a rate card. Once he gets the card, Sydney gives him $150.00 and tells him to cash it in for dollar tokens, making a note of the amount cashed and the time on the rate card.

Next, Sydney tells him to play twenty dollars on the slot machines, playing slowly, a dollar at a time, making sure the floor man notices him. Sydney notices John ordering a drink and approaches him, telling him "it'll turn out to be a hundred and fifty dollar cocktail. Don't drink." He tells John to leave the slot machines and to cash in a hundred dollars in tokens for cash, and to get a bill.   He's then to give his original cashier his hundred dollar bill along with his rate card for more tokens. After he does this, Sydney points out that he now has $250.00 on his rate card and he's only spent twenty bucks. Sydney tells him to keep cycling the bill, slowly, making sure the floor man sees him and says he'll come find him later. John takes the advice and gets into the pattern. The floor man starts noticing him approvingly. He ends up winning some money along the way, and later we find him in a room. Sydney knocks at his door, and John tells him he got $2,000.00 on the rate card, and the floor man offered him a room and tickets to a show. He tells Sydney "it works!" and asks if that's what he does. Sydney tells him "Not anymore."  John thanks him profusely. Sydney then asks "What are you gonna do?" explaining that he can't do this all week. Sydney tells him that he can't win $6,000.00 but he has a friend he can call to help with the funeral arrangements. He tells John ." John says "I would. Thank you." Sydney tells him he's going to gamble and John asks if he can go along and watch.
We then pick up two years later, in Reno, NV. Sydney is at a table in a casino bar. A waitress approaches and says "Hello, Captain." and asks if he remembers her name, before hiding her name tag under her hand. Sydney recalls "Clementine, just like the movie." Clementine (Gwyneth Paltrow) smiles and says he's right. He asks if she remembers his name, and she tells him she does, saying "Sydney." He asks her why she calls him Captain, then. And she tells him that he seems like the captain of a ship to her, adding "I see the way John follows you, and worships you, like you're the captain." Sydney tells her "John is a very old friend." Sydney asks her if she's required to flirt, pointing out a table of men. She tells him she's not "required" to do it, but if she doesn't she gets questioned about being rude. She says "I can't tell them to fuck off." He tells her "You don't have to do that with me. She nods and he offers to settle the bill for his drink, but she says "Jimmy paid for your drink." We look over and see Jimmy (Samuel L. Jackson) at the bar with John. Sydney gives her a twenty anyway. John and Jimmy approach Sydney's table. Jimmy tells Sydney he's working as  a security consultant at the Sand Dunes Casino. John says that Jimmy say Sydney play in Vegas once, a few years ago. Jimmy recalls "I used to live there. I saw you playing craps at the original Dunes. You bet the hard eight for a thousand and pressed it for two."
Sydney: Did I hit it?
Jimmy: No, you didn't hit it. But, it was a big balls bet and I remembered your face.
Sydney: Stupid bet.
Jimmy: You were with that old dude with the voice thing. What was his name?
Sydney says "Excuse me." and looks at his Keno card. Jimmy comments that he gave up "big balls bets." to play Keno. Sydney answers "It passes the time." John mentions seeing a guy win $38,000.00 playing Keno, and Jimmy tells them about seeing a guy have a heart attack and die at the craps table, which didn't stop the game. Jimmy then remarks "We are surrounded by pussy here."
Sydney: Hey. Hey. Jimmy.
Jimmy: What?
Sydney: It's not for my ears, but hers. She can hear that sort of thing across the lounge. It puts her in a very uncomfortable position.
Jimmy: I doubt if hearing she's got a great pussy puts her in an uncomfortable position.
Sydney: I just don't want it coming from my table.
Jimmy: I don't know if you knew this, but half the women who work here are take home whores anyway. They get off on that shit. I got a friend, works over at the Sand Dunes, where I work. This man's in charge of corralling the waitresses for that sort of thing. He's in charge. He is the pussy patrol.
John: [fidgeting] Jimmy...
Jimmy: What? I live up here. I know what flies and what don't. To tell a babe she's got a nice ass is no crime, believe me.
Sydney: You said it as she walked away.
John persuades Jimmy to go back to the tables to gamble. Jimmy tells Sydney to call him if he needs anything in town.
Sydney watches Clementine dealing with a table of men, before heading into the casino to gamble. He heads outside after awhile and sees Clementine leaving one of the guest rooms. She tells him she was visiting her friend, but she could lose her job if they find out she was in one of the rooms. Sydney remarks "But, you'll be fired if you tell them to leave you alone?" She's distraught at the though of the hotel finding out. Sydney takes her out for coffee and asks her about her plans. She tells him she's not into school and is just working to pay her bills. She remarks "You look at me as a piece of shit now, because you saw me coming out of that room." He tells her that he doesn't. She asks him if he's going to tell John about it, but he assures her he won't. She asks him how he knows John and he gives her the story. She remarks "I think he's adorable, the way he follows you around and looks up to you. He orders the same drinks as you. He dresses the same." Sydney says "We share the same tastes, I guess." She asks Sydney if he has kids. He tells her he has a boy and a girl, and says he's divorced. He tells her he doesn't know where they live as they haven't spoken in a while. She remarks "That's too bad." Sydney brings Clementine back to his room and gets her a robe. She asks "Captain, do you want to fuck me?" He asks "Do you think that?"
Clementine: Well, you brought me here.
Sydney: Do you think that?
Clementine: I don't know.
Sydney: Well, you should know before you ask a question like that.
Clementine: Well, it seems like you're being nice to me...
Sydney: So, you think I'd want that?
Clementine: If you wanted to fuck me
Sydney: Stop saying that.
Clementine: Well, it just seemed like
Sydney: Well, don't let it seem that way. This is a comfortable bed for you. I want you to sleep on it, to give you something to...a place to have a nice shower, and a bed.
Clementine: Don't get angry.
Sydney: No, I'm not. Because, I understand how you could ask a question like that.
He assures her that he doesn't' see her as a "piece of shit." and tells her John won't be back until late and won't disturb her.
The next morning Sydney wakes to find Clementine and John talking in the bedroom. He greets them and tells Clementine that John will take her out if she needs to go shopping or anything, offering money and suggesting they go to the mall. They agree but John turns down the money as he has his own. Sydney says "Well, that's that." and leaves them alone. John excuses himself to talk to Sydney before they leave. They compare yesterday's gambling and Sydney mentions that John didn't show up at the bar last night. John apologizes and says he was with Jimmy and mentions that Jimmy thinks Sydney doesn't like him. Sydney says that he doesn't like Jimmy, but tells him not to worry about it, and to show Clementine a good time. Jimmy asks if Sydney had sex with her, but Sydney says no, which John's relieved to hear.

Sydney keeps himself occupied, ending up at the craps table. An obnoxious younger player (Philip Seymour Hoffman) taunts him, calling him old timer. Sydney bets $2,000.00 on hard eight while the other player runs his mouth. The other player starts calling him "big time" after that. The hard eight doesn't come up, however and Sydney leaves the table.

Later he gets a distressed call from John, to meet him at a hotel. He agrees to come down. When he gets there, John is reluctant to open the door, asking "Is everything cool?" ove rand over, annoying Sydney. John tells him he has to promise to help. He doesn't promise just say "open the door." John insists that they keep the lights off, but Sydney refuses, turning them on to see a guy on the bed with his head bloody. Clementine is sitting in the corner of the room. John and Clementine explain that the man was a client of Clementine's but refused to pay her and hit her. She called John for help and they hit him and decided to hold him hostage, calling his wife to give them the $300.00 he owed her. Sydney gets all the detail of the situation, asking how long they've been there and who knows about it. More details keep coming out as he questions them. John reveals he threatened to kill the man if the wife doesn't pay. He gets angry when he realizes John has a gun, which he says he got from Jimmy. John takes it away and asks if Jimmy knows about the situation. John says he doesn't but Clementine tells him not to say that. Sydney starts questioning Clementine, telling her not to look at John. He has her tell him about the whole day. She tells him to just ask her what happened and he asks "Where did this thing go wrong?" She tells Sydney "He thought he was smart and I was stupid, but I'm not stupid." Agitated, Sydney remarks "Well, this is a pretty stupid situation, isn't it?" Clementine says "We'll see how fucking stupid I am when we get my money, won't we?" Sydney tells her "You know the first thing they should have taught you at hooker school?  You get the money up front."

John tells him not to talk to her like that, but Sidney tells John "Shut the fuck up." John won't calm down and says "I'm warning you Syd. Don't fucking talk to her like that. She's my wife. We got married this afternoon."  John kicks the man on the bed a few times. Sydney says "I am glad to see you are having a wonderful honeymoon." and then walks out the door, prompting John to beg him not to leave. Sydney tells John he can't be involved in this, reminding him how serious the situation is. He advises John to get in his car and leave and he'll help him get far away. John says he can't and Sydney asks, how he let her do this. John says "I was at the bar. I just turned around, and she's gone. I didn't know." He tells Sydney he knows he fucked up but he really loves her. They go back in the room and John tells Clementine they have to leave. She insists that he has to pay her, but John can leave if he wants. John gets angry and calls Clementine a "stupid fucking whore" when she says she doesn't care if she's separated from their marriage. She says "Fuck you, John." and he slaps her across the face and then starts apologizing. Sydney calms John down and tries to reason with Clementine, getting her to admit that she loves John, and doesn't want to spoil that with the kidnapping.

Sydney uncuffs the man who's still unconscious and they start to leave when the phone rings. Sydney asks John who it is, but John says he doesn't know. He starts stumbling over his words, saying maybe it's the guy's wife or the front desk. Sydney says "Don't fuck with me, John." Clementine speaks up and says "Jimmy knows we're here." John insists that it doesn't matter, they should just go. Sydney agrees hitting the man on the bed when he starts coming to, and then leaving. Sydney tells John he'll drive Clementine, and he is to follow them. Clementine gives Sydney the keys to her place and he agrees to feed her cats while they're gone. John catches up to them and Sydney tells them that they can call him and he'll get them as much money as he has when they need it. He suggests they go to Niagara Falls, and tells John he's not going to let anything happen to him.
Sydney throws the handcuffs and gun from the kidnapping down a drain in the street. On the road, Clementine promises she won't fuck up again. Back in Reno, Sydney watches video of John and Clementine's marriage ceremony in his room. He then heads to the Sand Dunes and Jimmy sees him from his car, flashing his lights to call him over. Sydney gets in the car, and Jimmy tells him to put out his cigarette as it ruins the resale value. Sydney refuses, so Jimmy asks if he can give him a cigarette then. Jimmy remarks that Sydney must have gotten his note. Jimmy informs Sydney that he saw the hostage in the casino that morning and that he hadn't called the cops.Sydney asks what Jimmy wants. Jimmy says, "SO, John and Clementine are on their way to safety in...Niagara Falls. So everything's alright then?" Sydney asks when he talked to them, and he says it was last night. Jimmy tells Sydney, that he knows some things about Atlantic City. Sydney laughs and gets out of the car. Jimmy is upset that he's walking away and tells him "I haven't told John, but I know about Atlantic City. You shot his father in the face." Sydney keeps walking and gets into his own car. Before he can leave Jimmy breaks his window and points a gun at him.
Jimmy: John doesn't know you killed his father but I will tell him. I;m threatening you with the words, you understand?
Sydney: Yes.
Jimmy: You want me to do it?
Sydney: No.
Jimmy: Then I want $10,000.00 to keep quiet.
Sydney: I don't have it.
Jimmy: Bullshit. Yes you do.
Sydney: No. I don't have it.
Jimmy: I will go to Niagara Falls and tell him.
Sydney: Please don't.
Jimmy: Ten thousand dollars, Sydney.
Sydney: Alright, I'll get it.
Jimmy: Yes, you will.
Jimmy insists he wants the money now, but Sydney says he has to get it from the bank.

Jimmy walks Sydney to a hotel room and tells him to sit on the sofa. He informs him that they're going to sit together until John calls or the bank opens. He tells Sydney "In the stories I've heard, you used to be a hard ass. You were a hard ass and you took his Dad out, Sydney. SO you think, what? That you can just walk through this life without being punished for it? Shit, man. I know all those guys you know; Floyd Gondoli, Jimmy Gator, Mumbles O'Malley. They like to sit around in Clifton's and talk, talk, talk. They love to tell stories. You can sit there and look at me sideways all you want. You probably think I'm some kind of asshole or something, but, I'm not a killer, like you. You walk around like you're Mr. Cool, Mr. Wisdom, but you're not. You're just some old hood.The other night, in the bar, you asking me a question, like, do I do parking lot security? Well, the answer is no! I'm trusted security, inside the casino, and I don't fuck it up."
Sydney: Good that you have such a sturdy sense of responsibility.
Jimmy: Don't fucking do that! You understand? I can see right through that shit. You look at me as some idiot, huh? I know you do. I know you. You old guys, you old hoods, you think you're so fucking above it, so high and mighty. What am I to you? Some Loser? No. Not with a gun in my hand, not with the facts I know. Bottom line Sydney, no matter how hard you try, you're not his father.
Sydney: I have the money here. I have the $6,000.00 here. Not in the bank. I have it here.
Jimmy: I knew that. I knew you did.
Sydney: I have the money to give you, right now. In this moment. I will give you all that I have. Maybe, before, you were gonna kill me. I don't know. I know John, and I love him like he was my own child. But, I can tell you this, I don't want to die. I killed his father. I can tell you what it was. This is not an excuse. I'm not begging for clemency. All that matters. I do not wish to sacrifice my life for John's well being. But I will sacrifice this money for mine. Because you have asked me. Because, after this, I will have done all I can for John and for myself. I'm gonna ask you with all the heart and sincerity that I have, please do not put a bullet in me, and please do not tell John what I've done. I trust that once I give you this money, you and I will take separate paths and that this negotiation will settle everything. That is my hope. I don't want to die.

Sydney goes to see a cashier at the casino and gets some money, handing it to Jimmy. Jimmy whispers to Jimmy and laughs, leaving him. Back at his room, Sydney gets a call from John who's heading back.. He tells John everything is fine. John tells Sydney how much he loves Clementine. He tells John he has to tell him something important, and then says he loves him like he was his own son. John says he loves him too. We see that Sydney is packing a suitcase. He parks across from Jimmy's house and watches Jimmy leave. He then breaks into the house and finds Jimmy's guns and takes one, before sitting in a chair facing the front door.

Jimmy goes to the casino and gambles, betting two thousand on the hard eight and winning. We see John and Clementine on their way back. Jimmy picks up a girl leaving the casino. We see Sydney look at the door as Jimmy opens it, walking in along with the girl. They're about to have sex on the couch, not noticing Sydney until he points the gun and shoots Jimmy several times, killing him. He tells the girl to get out and checks Jimmy's body, finding a wad of money in his pocket. He takes it and drives off. John is still driving as well. Sydney goes to a restaurant and has coffee. He notices blood on the cuff of his sleeve while putting a cigarette in the ashtray, and pulls his coat sleeve down over it.



What About It?

Hard Eight is essentially Sydney's story. In fact, "Sydney" was the original title. We're given a glimpse into the character of a man who has been around a long time, has a very good understanding of how his world works, and a firm set of beliefs to follow. Philip Baker Hall plays this character perfectly, as a man who says what he thinks as exactly as possible, with no need for hyperbole. His defining characteristic is his courtesy, which he never abandons. In the beginning of the film, he tells John, "Never ignore a man's courtesy." and it becomes clear that this is a larger statement than we imagine at first. Seeing Sydney react to certain situations, particularly crude statements and language, reveal much about him. Although on the surface you might take him for "proper" and easily offended, that's really not the case. At their first meeting John tells him "I don't suck dick." and Sydney doesn't blink. That has nothing to do with his intentions, and a less secure man might find the statement insulting. Sydney does not, because he understands where the statement comes from and realizes it's not an unreasonable statement to make. While not offended, he does begin to lose patience, as to him the exchange is simply a waste of time. He's a man who strives for the utmost clarity, so time and economy of words is more important to him than most.

Sydney has similar exchanges with others, when Clementine asks "Do you want to fuck me?" He doesn't simply end the exchange with"No." He tries to teach her something, asking "Do you think that?" until she finally answers "I don't know." and he is able to tell her the lesson "Well, you should know before you ask a question like that." As with John, he doesn't take offense at this. And he tells her why "Because, I understand how you could ask a question like that." He is well aware that kindness is often perceived as a trap, and used to set up conditions which can be called on later. Again striving to keep things clear, he informs John "I want you to see that my reasons for doing this are not selfish. I'd hope that you will do the same for me." Such a statement is unusual enough that most would dismiss it, but Sydney is quite serious. At the same time, however, he rejects John's comparison to St. Francis. While he is making great efforts to dispense kindness, he is not at all a holy man. His willingness to help, share, and teach simply fit into his own idea of what he should be doing. He has accumulated much knowledge in his years, and he chooses John to pass it on to, and he is chosen for good reason. We learn from Jimmy late in the movie that Sydney killed John's father years ago. We can guess that Sydney feels some guilt over this, but his characterization doesn't quite support that. When he requests that Jimmy not tell John, it seems to me, he is more concerned about what it will do to John's life, than any personal consequence. "You were a hard ass." Jimmy tells him, and he's right. This revelation however, doesn't cause any change in Sydney's demeanor, it's simply a fact as much as what he had for breakfast. He was a hard ass, and what he's learned over the years has taught him that there is a better way to conduct yourself when possible.

He chooses kindness over violence when given the choice, although as Jimmy learns he has no compunctions about being a "hard ass" again, if his hand is forced. The choice he has made is evident however, in his choosing to let the girl who came in with Jimmy, run away. Jimmy however, made his choice, simply by being who he is. The sting he felt over Sydney's insult, asking if he worked "parking lot security" is all that Sydney needs to know that the matter will never be settled with Jimmy.  When confronted with John and Clementine's mess in the hotel room, he advises the simplest solution. This is the only occasion where we see his patience tested. He can't come to grips with the lack of logic in holding a man hostage and risking long imprisonment, for the sake of $300.00. Beyond that, his common sense is useless as John and Clementine are both acting out of intense emotion. The two of them are essentially "ignoring his courtesy" by asking for help and then not listening to him, and by not giving him all of the information. John even lies to him about Jimmy's participation. (foreseeing his disapproval) Due to John's desperation, he rethinks his decision to leave them there, perhaps realizing that they have no idea what they're doing. Learning that they got married, he again comes to a place where he understands how this has happened. The other thing about Sydney is, he commits to his decision, and is never forced into anything. Thus, when he does convince them to leave town, he helps them. not begrudgingly, but 100%, offering to send them "as much money as he has, whenever they need it." To him, John and Clementine are simply children, who made a mistake and this doesn't warrant any ill will.

Sydney's reaction to the hotel room scene is also very revealing about his character. He treats it in the same way, as he deals with vulgarity. He's seen it all before, but he strives for clarity, asking for all the facts of the situation until he understands. He remains calm in the face of it, until John and Clementine, prove unhelpful. Even then, once he takes into account their positions, he factors them in and proceeds accordingly. He's a guy who has nearly everything figured out, but still recognizes that he doesn't control everything. He has gambling down to a science, so much so that it may as well be steady employment. There is still a part of him however, that remains a gambler, as we see with his habit of betting $2,000.00 on the hard eight, and often losing, of course. But losing, is also not a surprise, just another factor to be considered. Even in the losing he gains something, as we see in Jimmy remembering him doing the same thing years ago as "a big balls bet."

In a sense, the action is a personal statement, that win or lose. it's all the same to him. This causes resentment in someone like Jimmy. We see that once he's given the blackmail money, betting $2,000.00 on the hard eight is one of the first things he does. Jimmy wins the bet, but he doesn't really win, ending up dead a little later.  He doesn't understand what Sydney is at all, justifying his own inferiority, by imagining that Sydney is simply an act, when in fact Sydney's knowledge has come directly from the life he's lived. To Jimmy however, even Sydney's courtesy is an insult, because he wants to believe they are equals, although they're not. Jimmy argues the point, defending his language as acceptable. Again striving for clarity Sydney asserts that he simply doesn't want Jimmy's language coming from his table. This is another example of his effort at courtesy. We see where he's coming from in the previous scene, when he tells Clementine she doesn't have to flirt with him.

Compared to Sydney, John is a blank slate. He starts out perplexed and somewhat hostile, but once he realizes that Sydney is what he says he is, he learns from him eagerly, clearly moved that Sydney would expend his effort to teach him something. He regards Sydney as a father figure and reveres and imitates him. On some level though, he has a need to assert his own person and thus he ends up befriending Jimmy, another person who gives off the appearance of knowing more than he does and treats him kindly. John C. Reilly portrays John as extremely simple. He is able to follow a system if it's given to him, but coming up with a system of his own is well beyond him. This is also seen in his relationship with Clementine. He suggests they get married, the first day they spend any real time together because dating is just another system in which he doesn't understand the rules. John is impulsive and greatly impressionable, but very good hearted for the most part. We see how easily influenced he is though, by his attempt to keep both Jimmy and Sydney as mentor figures. Without question he accepts a gun from Jimmy. He clearly has some anger in him as we see when he slaps Clementine, but it was certainly a heightened situation, almost designed to bring out the worst in him. Once they leave, he quickly forgives the fact that she spent their wedding day having sex with a customer, seemingly content in the fact that she's with him.

Clementine is the most driftless of them She seems to have very little in the way of personal convictions and tries very hard just to give everyone what they want from her. She feels little obligation to anyone, and has no clear goals. She tells Sydney, that she's making money, mainly to keep her credit rating from getting bad. She has no problem with having sex for money, but is determined that she will be paid what she's owed, so much so that she would risk her freedom for it. Clearly, she's emotionally unstable and acting out of anger, against her own powerlessness. She is not typically aware of her own motivations, and her mind is easily changed with the right approach. Gwyneth Paltrow is very convincing in giving us a believable character, necessary for the turning point in the hotel room. Of all the characters, Clementine is the gamble for Sydney, the reminder that he can't anticipate everything. He certainly knows this when he brings her into the equation, but perhaps reasons that John is at a place where Clementine is the next logical step in what John needs.
In a sense, he's again putting $2,000.00 on the hard eight by bringing her in. For the length of the movie at least, it seems his gamble pays off, he is able to move on and John has a companion now that he knows enough to get by on his own.

The world that Paul Thomas Anderson creates is an interesting one, with Sydney at the center of it, a man with many sins practicing kindness in an environment where kindness is always a con. Gambling is the background of the film, and at the forefront is Sydney's unflappable courtesy. We end up with the contrast of chance vs. conscious effort. This is a struggle which has clearly taken it's toll on Sydney, but he appears aged and perhaps resigned, rather than beaten. Sydney like to play the hard eight, but how he plays it is the one thing in his control. His kindness and generosity are not altruistic, and likely not his nature, but that again, is him establishing what control he can over the unpredictable. He's capable of shooting people dead without flinching, yet he can also choose to help the son of one of his victims. This gives him a legacy in a way, as all of his knowledge isn't wasted when he's gone. He seems to care for John, but when his own children are mentioned he doesn't show any emotion, but agrees that it's "too bad" that he hasn't seen them in a very long time and doesn't know where they live.  The characters in the film are well rounded and fascinating. The dialogue is sharp, unique and riveting. We enjoy getting to know these character as much as thy enjoy getting to know each other. These are exchanges we don't often see. These are not good guys and bad guys, but particular people living with the messes they've made for themselves, Sydney included. In a sense, Sydney's code of conduct, kindness and courtesy, is the ultimate bet on the hard eight, a reward isn't likely, but then Sydney can only control how he plays. To the very end we see Sydney's determination to live with dignity. He's not shocked by the blood on his cuff, but he is able to cover it up as best he can, out of courtesy, perhaps because nobody in the restaurant asked to see it.

There Will be Blood

What About it?


(for a summary of the film, click on "What Happens?" at the bottom of this post.)

There Will Be Blood is an extraordinarily single minded film, mainly due to Daniel Plainview, the central character. Although there are many characters, with their own developments, there is nothing that happens here, unless it is of concern to Plainview. He isn't a character who pops up often, strong, unyielding, smart and seething with rage and hatred for humanity. Even when he's being polite, the menace remains, not far at all from the surface. he's a forceful man, so much so that he is never required to use force and only does so because it somehow pleases him. The interesting thing about him is, he is for the most part, simply a businessman. Financial success is the only thing he really cares about and he's certainly a very capable force in it's pursuit, not willing to be stopped by even a broken leg with a long walk ahead, or even the most fundamental human attachments. Yet for all that determination, Daniel Plainview is not inhuman, while far away from being a warm and doting father figure, he does, in his own way, form an attachment to H.W. When H.W. confronts him about going out on his own, Daniel tries to dissuade him, although his acerbic manner is not at all what H.W. will listen to. Plainview's revelation seems very much a response to being stung. In his coming to grip with this, Plainview seems not unemotional, but someone who would control his emotions, just as he does his oil crews.

He does seem to have some need for "family" which he as not examined in himself. His humoring and acceptance of Henry, the fake brother, also shows this. He includes Henry in everything despite the fact that his presence has little value. H.W. was present in a similar manner earlier, but the boy's "sweet face"  was at least an undeniably useful tool. Plainview understands the power of family, although he feels no such bond. His constant representation of himself as a "family business" attests to this. We know little of Plainviews's early family life, except that he left it as soon as possible and has no interest in talking about it. When Henry mentions his sister Annabelle, Plainview seems to respond warmly, yet his own father's death doesn't elicit a change in tone. Just before he kills Henry, he asks "Do I really have a brother?"  with what appears to be deep interest, enough to put off killing Henry for a few moments.

Daniel despises falsehood, although it is a big part of his own image. His instant hatred of Eli, is the most direct example. Every liar in the world, is in a sense his "competitor" and Plainview's proudest accomplishment is that he is the smartest about it. "Inferior" falsehood angers him more than anything else. He doesn't flinch when killing Henry, or at the end when battering Eli. For him, this destruction is a need and compulsion, to crush his competition. This also comes up in his meeting with Standard Oil. His threat to cut Tilford's throat could be seen as a direct response to Tilford's feigned concern over Plainview's family. The idea of God, to Plainview is a tremendous falsehood, which makes hatred of Eli, especially intense.

While Daniel is certainly a capitalist, his capitalism serves his anarchist philosophy. He sees "nothing to like" in people and will only allow weakness in the interest of serving his ends.  His main desire is to have enough money that he can isolate himself completely from the world. His distancing from H.W. shows his intolerance for weakness or defect. Although because being a human being, he cannot completely embrace this position, he does seem to have concern for H.W.'s welfare. His coldness stems as much from his not knowing how to deal with H.W.'s condition, as from the weakness, however.  He attempts to speak to the boy, as if one of them is just not trying hard enough to speak/hear. Like family the concept is one he doesn't fully understand and doesn't have the patience to explore, as it keeps him away from his focus, the pursuit of more money, his means of isolation. Plainview is strong, smart and relentless. His main failing is that he isn't capable of a broad understanding of people or concepts that do not serve him. To him, they are obstacles which can't be crushed, and so can only be abandoned. Daniel Plainview sees himself as the ultimate authority on the world, and as such feels no need to check his anger. He accepts it and is very aware of the "building hatred" that comes with his approach.

The cumulative effect of it is finally unleashed on Eli, the living person he appears to hate most in the world. Eli acts as if they are peers, and this is not acceptable. The two have a long history of each man understanding the other's deceptive nature. Yet, they are not peers because while Daniel would claim to be his own authority, Eli credits God. Plainview's response when Eli asks a bonus "for his church" is telling. "Good one." he says. It's easy to imagine Plainview as an Evangelist, if he hadn't found silver one day.  Eli breaking his role, and then his grovelling, is what assures his doom. As Plainview demonstrates when he claims that he himself is "The Third Revelation." and that he is "the chosen one." because he was the smartest. Eli comes to represent everything that Daniel despises in humanity and existence. He doesn't however, realize how much his hatred is part of his reason for being. Plainview enjoys his cruelty. His smirk while playing along with Eli, just waiting to reveal that he has beaten him as well as his amazingly contemptuous remarks, all come without much effort. He savors this destruction, and when it's finished, he realizes that he himself is finished as well, as he tells the butler. With H.W. gone, and Eli destroyed, and no "family" left, he is left with the problem of "what would I do then?" as he asked the reps from Standard Oil at one time. He has no more appearance to maintain as he has earned his isolation.  He exists to make money, and to destroy his competition and both of these pursuits have come to their conclusions. So at that point, Plainview is lost, destroyed himself, although he may continue to live.

The film itself is a work of art. Although it's a period piece, it still feels relevant, mainly because of the great attention to detail and Plainview's impossibly large figure. P.T. Anderson, as usual uses the soundtrack to interesting affect, not relying on traditional background music, but using the background to drive the mood to a fever pitch. The environment feels authentic, the oil operation incredibly large, while the houses and spaces people otherwise inhabit are typically very small, until Plainview's house at the end. The movie Plainview's dialogue is incredibly sharp, showing us that as well as being physically imposing, this man can flay you with his tongue. Daniel Day-Lewis' performance here is truly one of a kind. He fills in the skin of this flawed monster, showing unimaginable menace with his inflections and his offhanded glares. He realizes that slapping Eli in public is far more humiliating than a regular beating. Even his choice of abuse shows the man's contempt. Every step the character takes is a reflection of the man. Despite it's vast settings the film is very much the tightest of character studies. Although the other actors involved all do their jobs impeccably, Plainview absorbs everything. Paul Dano as Paul/Eli is also quite good here, although like everyone else, he is diminished by the film's centerpiece, coming across as a weak contrast to Plainview. Where Plainview is large and effortlessly loud, Eli is slight and has to work for any volume, resorting to cheap theatrics to convince. Eli's deception is not convincing and he is so much weaker than Plainview, there is no doubt that he'll be destroyed.

 There Will be Blood is certainly about Greed, deception, capitalism and false prophets, but not entirely. It's also about the difficulty of sustaining those absolutes. While it would be easy to believe that Plainview's character is unstoppable, he is not. It's his own force that destroys him. He enjoys "building the hatred" but there is nothing in the world that he loves. Isolation only gives him more space to drink and pass out wherever he likes, his money assuring that this will not be questioned. He spends much effort to be larger than life and can't possibly cope with the person he's built being contained when there is no destruction left to savor. Plainview can only hate humanity through its representatives. As such, he doesn't hate the church or God, he hates Eli, because he can be destroyed.
He can't destroy "family" or his need for it, so he settles for Frank and H.W. In the end the only thing that can bring him down is his own impossible weight, and it's in a sense, his amazing greed which consumes him. Whether the final scene is reality, or fantasy entirely produced by Plainview's own mind could be debated. I chose to view it literally, as the entire film is Plainview's experience. And the confrontation is very much his reality in any event. It's a fitting ending, as a hatred as great as his could only come from having himself as it's object. In some strange way, it's his own doom that he savors, satisfied in some small part that he himself performed it. He has exactly what he wanted, isolation from the world, muttering on the floor of his private alley having destroyed everything that was false within his reach.

Punch Drunk Love

Punch Drunk Love is a great example of perfect casting. Adam Sandler's character, Barry Egan, feels like a natural extension of the characters Sandler has played in the past; the good hearted, immature, prone to outbursts, character he's played in his own films.

Barry is just a little different though, while still immature and socially inept, he strives at all costs to maintain a calm environment. Barry is busy running his own business, which is one aspect of his life that satisfies him. Initially, director Paul Thomas Anderson accentuates Barry's introversion with colors and sounds, focusing on cool blues, in Barry's suit jacket and heavily throughout the background. The beginning also starts out with almost no background noise, only the sounds of what actually occurs.

Barry is on the phone with the representative of a food company which is offering airline miles for proof of purchases. Barry can't help but obsess over the details of the promotion, realizing that the prize is worth more than the purchase. He clearly derives satisfaction from exercising control over small aspects of his life. He attempts to keep everything ordered and controllable., with clear terms and conditions.

However, Barry's first day here is not ordinary. It starts out with Barry walking outside his warehouse/office early in the morning to witness a car crashing out of control, on the otherwise empty street, followed by a taxi stopping to drop a harmonium on the street and then speeding off. This is soon followed up by Lena Leonard (Emily Watson)  parking her car in a rush to get somewhere and asking Barry to keep an eye on it. Barry is uncomfortable talking to her but quickly agrees to help her. Lena's appearance introduces more color to the film, her bright orange dress practically burns up the screen contrasted with Barry's deep blue jacket.

Once Lena leaves, Barry can't help but grab the harmonium still enchanted by it's appearance. He runs it into his warehouse as if being chased. The background music starts as Barry toys with it. He's soon interrupted when his employee, Lance (Luis Guzman) show up, opening the overhead door and starling Barry with the bright sunlight breaking into his serene world. A source of anxiety is soon exposed as Barry tries to deal with customers, while his seven sisters continually call to interrupt. They all speak abusively, trying to make sure he'll be at their party in the evening.


Barry is clearly bothered by the party, his seven sisters pressing him on how they used to call him"gayboy" He tries to avoid confrontations as much as possible, although at one point he realizes he's been walking around carrying a hammer for no apparent reason. When they ask him teasingly if he's still gay. He can only respond by mumbling "I don't know." They don't let up, teasing him relentlessly. Barry finally has an outburst and kicks some glass doors to pieces. Afterwards, he asks his brother in law Walter for help.
Barry: I wanted to ask you something because you're a doctor... I don't like myself sometimes. Can you help me?
Walter: Barry, I'm a dentist. What kind of help do you think I could give you?

Barry soon decides to relieve his loneliness by calling a 900 line to talk to a girl. He isn't very interested in talking dirty, although the girl, "Georgia" keeps pushing in that direction. He insists on a fake name and keeping everything confidential. He rebuffs every sexual innuendo as if he just wants to hear a woman's voice.  He does tell the girl that he has a girlfriend, and tells her he's doing well in business. He tells her "You sound very nice... and personable..." She calls him back the next morning as he's about to leave for work asking him for money. When he says he can't afford it, she continues pushing, even threatening to call back and talk to his girlfriend and reminding him that she has his credit card information. He quickly cancels his card at the office, eliciting escalating threatening phone calls. The music grows more frantic in the background as if to mimic Barry's state.

One of Barry's sister's arrives, with Lena, who it turns out is a friend she had wanted Barry to meet. Lena needs to pick up her car and his sister asks Barry to go to breakfast with them. Barry declines, presumably not wanting to make an impression on someone with his sister present.Barry shuffles harrassing phone calls, his sister pressuring him, and Lena trying to chat with him. In the warehouse, the workers start dropping things from the fork lift, adding to the chaos. Lena says she's going to Hawaii, and Barry mentions that he was thinking of going there too, thinking of his flier miles. Sensing how busy he is Lena and Barry's sister leave, but Lena turns around once his sister leaves and asks Barry out to dinner. Georgia, angered that he keeps hanging up, tells him that it's war now.

Georgia's boss, Dean Trumbell (Philip Seymour Hoffman) thinking Barry is rich, sends some guys out to visit Barry. Trumbell is  a total sleaze, who even cheats the guys he's sending out when they question him about changing their agreement for payment, he responds, "When it doesn't make sense think about it from a fair dealing sense." He directs them to "hit him at his house first."

Barry and Lena are out to dinner. Lena admits that she staged dropping her car off in order to meet him. They seem to hit it off well and Barry struggles through his difficulty, even telling jokes to her and letting her in on the pudding promotion (which he doesn't want people to become aware of as it might end the promotion) Lena relates a story Barry's sister told about him throwing a hammer through a glass door. This prompts Barry to go to the bathroom. While he's there he destroys the bathroom and is confronted by the manager on returning to the table. He pulls Barry to the side and asks him to leave while Lena waits at the table. They talk more as Barry drives her home,and she tells him as he leaves her apartment that she'll be back in a few days. She then calls for Barry at the front desk of her building, catching him just before he leaves, sending him running back up for a kiss.

Arriving home, Barry gets jumped by Trumbell's guys, who abduct him and bring him to an ATM. He withdraws $500.00 and one of them says "this is what you get for being a pervert." When Barry tries to set the record straight, explaining that he declined to help Georgia, one of the guys punches him and knocks him to the ground. Barry takes off running, although they chase him. He runs wildly through alleys for a while and running down the street, they pull up beside him in a truck and remind him that they know where he lives, before driving off.  Barry decides he's going to go to Hawaii to get away. He enlist Lance to help him buy more pudding to get enough miles to go. The pudding company, however informs him that processing takes 6-8 weeks prompting Barry to punch a wall and break down sobbing. Barry decides to pay for the trip himself, leaving Lance in charge with a reminder not to tell his sisters.

Barry arrives in Hawaii and asks his sister where Lena is staying. His sister browbeats him about it and he finally stands up for himself, threatening her.. He finds Lena, they meet and have a wonderful time together. He finally opens up to her, admitting he beat up the bathroom and expressing his affection uniquely:
Barry: I'm lookin' at your face and I just wanna smash it. I just wanna fuckin' smash it with a sledgehammer and squeeze it. You're so pretty.
Lena: I want to chew your face, and I want to scoop out your eyes and I want to eat them and chew them and suck on them.
Barry: OK. This is funny. This is nice.
Lena even takes a call from Barry's sister with Barry listening, keeping up with the pretense that he isn't there. Before leaving Hawaii, Barry leaves a message with Georgia's machine that he wants his money back. Lena asks if she can go home with Barry when they return and he agrees, forgetting that he has people looking for him.

As he's about to pull into his garage, the thug's truck sideswipes them. injuring Lena. Barry is too frantic to be timid and grabbing a tire iron, he beats all of them and smashes the window in their truck. He leaves Lena at the hospital and calls Georgia, now full blown angry. Georgia is coy, which angers him more and he demands a supervisor. Trumbell gets on the phone, but isn't very cooperative


Barry returns to the hospital, but Lena has been discharged. He finds the address for D and D Mattress Man which the 900 call showed as the biller.  He shows up to confront Trumbell, who isn't initally impressed. Barry won't be brushed off though and says:
Barry: I didn't do anything. I'm a nice man. I mind my own business. So you tell me 'that's that' before I beat the hell from you. I have so much strength in me you have no idea. I have a love in my life. It makes me stronger than anything you can imagine. I would say 'that's that', Mattress Man.


He then tracks down Lena, who's upset that he left her at the hospital. He explains the whole situation with the phone call and she forgives him. He explains that once he redeems his miles, he can go with her anywhere she travels.

Punch Drunk love is a movie which takes a lot of care constructing emotion. Anderson, layers his reality uniquely with colors and music, while relying on Sandler to sell the uncomfortability that goes with living in Barry Egan's skin. His constant distress can be painful to watch. He's a mess, but he also has a kind of sweetness and earnestness that you can't help but root for. Barry is where Sandler's character from his own movies could end up if forced into a more serious reality.  I don't know that another actor could pull off Barry Egan, as prior experiece with Sandler heavily informs your feelings towards this character. He's always the lovable screw up, only more repressed here and not nearly as humorous. His outburst here lead to destructive violence, far removed from the over the top for laughs fare you'd laugh at in Billy Madison or Happy Gilmore. And yet, like Sandler's past characters, you really want him to pull things together at the end, and when he does it's a little sweeter, because that ending was not guaranteed.