Magnolia (Blu-ray)

This was the first movie that I saw, on DVD, after my release from a 3-year stay at a mental hospital. I don't know that has anything to do with my love for the film or not. I go back and watch it occasionally, 14 years later, and still find that it's a gut-clincher for the mind, heart and soul. Before... well, before misfortune overtook me... I was a twice a week film buff. When I was released, I tried to resume life as usual but just couldn't do it. I'm still sick, in some ways. I'm still sick. I have cartons of Blu-ray transfers on hand and have become almost addicted to trying to find all of my favorites up-to-date on Blu-ray. One last thing before I go. This is THE deserted island film for me. I'm not sure why I waited so long to review it. I have never been a fan of Tom Cruise – never – but he'll make you realize that there's more to his acting than you thought possible as you pick yourself up from the floor for the third time. It's unusual not to have a heart. Maybe even more difficult to not have a brain. If you lack both, I don't know what to tell you. Maybe you'll feel; like I did, and all of your emotions will come roaring down upon you when you see this film. If I felt that I could adequately describe the work that these people do, I would probably ruin the film for anyone who may want to see it alone. That's what makes the movie such a one-of-a-kind – a lack of continuity that never fails. First PTA film that I every saw. Started watching all Anderson films after that. This is a one-off. As so may people have described it as the finest film that they've ever seen, I can "understand" that sentiment... seems as if it's true. Just open yourself up and belt yourself in (nice and tight) and it's off to the races. Hoffman is incredible (I can't think of a time that he wasn't ). Anderson? Anderson? Anderson? I'm not one for top 10 lists, best lists, etc., I know what I'm willing to take chances upon, though. EDIT: I wanted the Blu-ray version of this, and so I paid $28+ for the edition labeled Blu-ray. This "Multi-Format" stuff is new to me and I was too late in realising that I could have paid $9+ for the Blu-ray & Digital editions. Nothing extra or special about the $28+ version. Hey, I'm learning.

'Magnolia (1999)' is an epic on the cosmopolitan human being and his/her endeavor quests. Written and directed by Paul Thomas Anderson, 'Magnolia' is a notch within a catalogue of movies distinct in a legacy of interpretations on the 'living with yourself' struggle. The famous magnolia has six pedals on its flower, and is the emblem fronting advertisements for 'Magnolia' the film. 'Magnolia' highlights ten persons, but the movie has instead stories, about eight, which may be separated and defined as aquaintanceship passage worlds. In a critical or naive observer's relinquishment to pleasure, the identification of these abstracted meanings from specific interactions of people forces definitions for description. Adoration is nurtured without actual conscious or physical permission on our part. Paul Thomas Anderson's illumination of the randomness of actions and events which induce interior dilemma and Anderson's anecdotes in relief of uncanny tropes and foibles is a defining generation genre. The chaotic and furtive haphazard trials of the various casual and upscale cliques of San Fernando Valleyers is the-such a thing, what do ya call it?-that Anderson has made an obsessive relationship with, harnessing analogous excitement growths. The Californian populace of contemporary social tone colors has been a-work within-globe of malleable music that Anderson has accentuated in elevation mania. The icons of the silly, arbitrarily thrown together situation dictated these brash illuminations. Anderson has modeled social mischievousness, abrupt intemperance, and heart awakening recognitions in his cumulous variable scrutiny. Speaking of drama, in 'Magnolia' big things-the issues-are stated outright. Stanley Spector(Jeremy Blackman), the host for the quiz show 'What Kids Know', says: "I'm dying of cancer." T.J.Mackie(Tom Cruise) calls his father, who is dying, a terrible name. In P.T. Anderson's multi-pane quilt the substrations of ominous trouble are sustainable even though we look at larger than life oil-paint figures. One hangs on to a semi-recognizable caricature because outside these concupiscent lives are anecdotal coincidences waiting to deliver any detachment into unsolicited irrelevant involvement. 'Magnolia' demonstrates that lottery chance, and unanticipated meetings happening against numerical unlikeliness are significant because the persons, the targets of serendipity have their own perogatives. Earl Partridge(Jason Robards) has a deathbed speech about his guilt over having cheated on his wife. Listening to Earl Partridge we hear his evidences for feeling what he calls 'the regret', and they are quite rational. Anyone can play at being lonely or hurt, or feign having dynamic enthusiasm, but even if these traits are intemperately assigned-like a child improvising theater scenes in front of his tape recorder-there are back story details to make all the ostentatious gestures legitimate again. Donnie Smith(William H. Macy) is a former contestant on 'What Kids Know' and is grown into adulthood. Donnie is in a bar, confessing peremptorily that "I have love to give". The ensuing dialogue references points of former conversations. It is drama! The words stay in our minds, not because they are ornate syllables that are worked out in meter. In fact, the conversation between Quiz Kid Donnie Smith and Thurston Howell(Henry Gibson) is filled with vulgar language, but, because the characters articulate their pains, sympathy is cognated. Strange coincidences involve mixing with other people. When the moods are cast, staring at a tense face, watching a conversation from a low camera, these actors are themselves vectors of surprise; loaded up with anxiety, ready to implode. It's revelatory, a quixotic sweetness when there is an impromptu offer to help, and at times, a query could be from a stranger who is disinterested. The best example of this is seen in the tale of Jim Kurring(John C. Reilly) who is a cop with the Los Angeles Police Department. Jim narrates some of his scenes as he describes his work and uncovers indiscreet individuals. The sequences are true to life in the well documented drama vein. Again, broad values are said in directness and are also indicative of a caring person. Jim's solicitations to Claudia(Melora Walters) , in his loyalty to those in need, form endearing sentiments and bring joy that goes beyond 'being touched'. The motions during navigation struggles in novel emotion are consistent to fumbling real likenesses, but there is much force in the words. Traditional epics make use of the conventions of the physical environment to forge an outcome based on a hero's choices, and this protagonist has already, a prescribed personality. The denizens in Anderson's sketches must make decisions about their values or approaches to their perceived problems having been made partners with sidetracked happenings or detouring calamities. These are stories where physical objects mark dramatic arcs as they relate to events to entwined aquaintances or strangers. From a higher perspective a commonplace singular theme exists in the fact that the people in 'Magnolia' are from the city of Los Angeles and do in ways, share an absolute causality with other people, to fulfill unconnected objectives.

This is a story of faith, and of the the value of empathy and good works. The divine intervention and "deus ex machina" at the end of the film may be controversial, but it makes the point brilliantly. It's no more bizarre than anything recounted in the Bible and is meant to remind one of the various extraordinary plagues visited upon Egypt. But the faith that matters -- the faith that stories of divine miracles are meant to inspire in us all -- is that of the nurse and cop who have the gift of empathy and the ability to see and to bring out the best in people. The seemingly disconnected stories come together in a brilliant and compelling way. They are connected, after all, by the traumas visited upon us in our youth and about how those traumas continue to play out for the rest of our lives. We all share in this experience to some extent, and it's what unites us all. Tom Cruise is surprisingly good in his role as the huckster son. Julianne Moore proves why she is one of our finest actresses. And then you have wonderful actors like Jason Robards and William Macy in supporting roles. A couple of things don't work. The title makes no sense to me -- how does "Magnolia" capture the film's message of faith and hope? And the opening sequence of bizarre coincidences does not work for me. It misses the point that there are strange coincidences. What -- does the Supreme Being have some macabre sense of humor? The ultimate mystery is whether there is some force higher than us and the meaning of life appears to be having faith in something greater than us. The sketches at the beginning of the film don't capture this. Finally, the infamous sing-a-long scene by leading characters near the end of the film has been deservedly lampooned by critics -- though it is silly to suggest, as did the contemporaneous review in the New York Times, that one bad scene ruins the whole movie. An absolutely wonderful film. Like "The Shawshank Redemption" it was a bomb in the theaters but will be seen in future years as one of the great films of the decade.

Paul Thomas Anderson is a remarkable creative mind. That being said, `Magnolia' isn't as strong as it could have been. That isn't to say that the film doesn't have merit, because it is authentic and truly earnest; perhaps too much so. The one thing that kept springing to mind while watching this film was that it lacked balance. This is the last of Anderson's films for me to see, and so it's odd for me that this is one of his most raved (possibly his most raved) film to date. While the Academy embraced his latest (and greatest) masterpiece, `There Will Be Blood', there are many vocal detractors to that film, while little is said to degrade `Magnolia'; a film that is considered by many to be an intellectual masterpiece of modern cinema. The film is good, but it is missing something. Like I said, `Magnolia' lacks balance. It surprises me, because that is one thing I find so fascinating about Anderson's other work; they are so balanced. Even something as dark as `There Will Be Blood' is emotionally landscaped in way so that you can feel the ups and downs, the highs and lows with precise effect. Anderson maps out his scenes in such a way that you `get' them. `Boogie Nights' balanced tones so effortlessly; creating such robust feelings that ran the gamut of witty and charming to eerily aggressive; and it all flowed. Even a film as `uneven' as `Punch Drunk Love' felt remarkably well thought out (despite my lack of true passion for the film, I easily consider Anderson's direction exceptional). Going all the way back to his debut, `Hard Eight', it is notable the way that Anderson plays with darkness in a way that feels eerily accessible. There are no swells in `Magnolia'. It is somewhat one-note. There is one emotion that permeates the entire film. It is depressing. One depressing scene after another depressing scene. I mean, the middle of the film felt like the end of the film because even the music was making me feel like the whole world was going to end and everyone was going to die that very moment and yet it still had over an hour and a half to go before the film ending. I have never felt so depressed watching a film in all my life; to the point where the conclusion truly brings no resolve or lifted spirits because it is too little too late. The damage had already been done. But, there is something about this film that speaks to me. As with all of Anderson's films, I feel that this is one to be seen again and again before it can be appreciated. I mentioned, in my review title, a sliver of the film's conclusion, and it is a moment that took me by complete surprise and helped me to appreciate it all the more. It felt right, despite being so off. It added a layer to this film that I wholly need to explore. I just wish that the film had more shades to it. That being said; the film is an acting goldmine. Philip Baker Hall and Jason Robards are phenomenal as the film's dying patriarchs, both of whom have debts to pay to their children. Julianne Moore is heartbreaking and completely sincere as the trophy wife with a plateful of regret. William H. Macy and Jeremy Blackman complement one another beautifully, playing the same role just decades apart. John C. Reilly is so tender and relatable as the insecure cop who catches a break with the wrong woman. But it is Philip Seymour Hoffman and Tom Cruise who really steal every scene. Their characters could be more different and yet they emote so deeply. Cruise is a firecracker, throwing charisma at everyone in his path and yet it is his emotional breakdown that feels the most real; considering that his entire persona is built upon a façade. It is Hoffman who grabbed me the most though. The way he uncovers us layers of true caring while watching over Cruise's dying father; its remarkable how much his eyes convey. The film; an interwoven collage related stories, has its moments, and the actually concept is one that I find inspired. In fact, I kind of find this film utterly fascinating. Like many have said about most all Anderson's work; it is flawed and yet it is unforgettable. Anderson has undeniably honed his skill as a director. His work on `There Will Be Blood' is almost untouchable (a directorial achievement that grows in my estimation every time I merely `think' of the film), and his promise is seen all over this film that is slightly `over-achieved'. This is not his worst film (but `worst' is not really a word to be used with his films), but that isn't a consolation when, with a little more focus given to layering the emotions, this could have been a clear masterpiece. And yet, maybe it is a masterpiece.

● Blu-Ray looks & sounds amazing. Great transfer / upgrade. ● ¤ All the disc specifications including art, extras & special features are exactly as listed. 🎞 🎦 🎬 📽 🎥 🎞 An epic mosaic of interrelated characters search for love, forgiveness and meaning in the San Fernando Valley.

Great

Magnolia, a 1999 drama film written and directed by P.T. Anderson, is in Anderson's own words, "probably the best film I'll ever make", which is wrong, as that honor goes to There Will Be Blood, at least in my eyes. The film itself is similar to, and slightly better, than another film released just a year earlier called Happiness. It's also very similar, apparently, to a 1993 Robert Altman film called Short Cuts. It features an ensemble cast of well-known big name stars such as Tom Cruise, Julianne Moore, Philip Seymour Hoffman, John C. Reilly, William H. Macy, and Alfred Molina, in a small supporting role. There are also relative unknowns such as Melora Walters, Phillip Baker Hall, and Jeremy Blackmon, in no less important roles. The vast majority of characters in this film are relatively unlikable, annoying, vulgar, and miserable people, many of whom have or are themselves bad fathers, cheating spouses, and incompetent workers. The film is three hours long and takes place in the San Fernando Valley of California, like all of P.T. Anderson's films. It follows all of the previously mentioned characters in search of love, happiness, forgiveness, and redemption. In addition to that all of the characters are connected, sometimes loosely, sometimes strongly, to eachother. William H. Macy plays former whiz kid Donnie Smith who was apparently struck by lightning and lost all of his "smarts", he was a contestant on a game show called "What Do Kids Know" and is now a miserable lonely man who seems lost and abandoned, in the beginning he gets fired from his job and it all goes downhill for him from there. Jeremy Blackmon plays Stanley Spector, a new "whiz-kid" on What Do Kids Know who has a sorry excuse for a father and seems to be heading down the same path as William H. Macy's character, he's also one of the most likable and sympathetic characters in the film along side John C. Reilly's character Officer Jim Kurring, who, believe it or not, is an LA Cop. His character felt far too naive and optimistic for a officer working in LA. Vermont or Alaska maybe, but definitely not in a place like Los Angeles could a cop be that innocent. However, for better or worse it's his character, and Jeremy's, that saves this film from a two star rating, so I guess he's not that bad. He has an odd romantic relationship with Claudia Gator, the daughter of What Do Kids Know host Jimmy Gator, who are played by Melora Walters and Phillip Baker Hall respectively. Claudia is a drug addict who hates her father and this is made clear in an intense early scene when he tells her he's dying from cancer. Tom Cruise plays Frank T.J. Mackey, a self help specialist who runs a seminar aimed at men that teaches them how to charm and seduce women into bed with them. In a different role from what he usually plays, Cruise as Frank is a vulgar, sleazy, and bitter man who seems to be running or hiding from something in his past, and Seduce and Destroy appears to a consequence of it. This is made clear in an interview with a woman that he agrees to during one of his seminars. Jason Robards plays his terminally ill father who spends the entire film in bed attended to by his kind male nurse played by Philip Seymour Hoffman. Franks hates his father for cheating on, and later abandoning, his cancer-stricken wife who later died, and him, who was forced to take look after her by himself. Julianne Moore plays Jason Robard's character's second wife who only married him for his money and wants to change his will to leave all of his valuables to her after he dies, and she also cheats on him. She is probably the weakest character in the film, as her performance is marred by over-acting and clumsy dialogue. She also has a vendetta against Frank, claiming he's not part of their family. In addition to these loosely connected plot threads, there is the common theme of chance and coincidence, best illustrated at the beginning of the film in a darkly humorous monologue focusing on three incredible coincidences that supposedly really happened and in a scene towards the very end which I won't spoil for you. Many people claim that Magnolia is a pretentious film and that Anderson was deliberately trying to be as obscure or confusing as possible to make it seem like a deeper or more profound film than it actually was. I believe there's a bit of truth to that, but not to the extent that some people here think. It wasn't all that confusing to me, the thing that bothered me the most was the overuse of melodrama and miserable, pathetic characters interacting with other miserable, pathetic characters. It felt almost like a soap opera, and the vulgar language was also overdone, to the point of actually taking away from the effectiveness of several scenes, especially one towards the end involving Frank. Overall it was easy to sympathize with many of the characters but hard to like them, which was a big negative for me concerning the quality and effectiveness of the film. It has a huge cast and a long running time, but it still felt oddly incomplete when the credits started to roll. Overall it was an okay film, but not great or a masterpiece, and definitely not Paul Thomas Anderson's best film.

I highly recommend purchasing this DVD, especially if you consider yourself a serious film person. There is a 75-minute documentary included on the second DVD that will teach you just as much about film making as a class at USC. My opinion: Magnolia is one of the greatest and most important films ever made. It breaks all conventions, it writes its own rule-book, and it demands you to accept it upon its own terms. Magnolia is nothing short of a masterpiece, and like all art that is ahead of its time, it will take decades for the film to be widely appreciated. As I listen to some critics harp on about the length and self-indulgence of the film (like it's a bad thing!), I am reminded of dialogue from the film "AMADEUS": Mozart: So then, you liked it? You really liked it, sire? King: Well, of course I did! It's very good! Of course now and then... just now and then... it seemed a touch... Mozart: What do you mean, sire? King: Well, I mean, occasionally, it seems to have... Oh, how shall one say... How shall one say, Direktor? Direktor: Too many notes, your Majesty. King: Exactly. Very well put. Too many notes. Mozart: I don't understand. There are just as many notes, your Majesty, as are required, neither more, nor less. King: My dear fellow, there are in fact only so many notes one can hear in an evening. I think I'm right in saying that, aren't I, Court Composer? Salieri: Yes. On the whole, yes Majesty. Mozart: This is absurd. King: My dear young man, don't take it so hard. Your work is ingenious. It's quality work. There are simply too many notes. Just cut a few and it'll be perfect. Mozart: Which few did you have in mind, Majesty?

Excelente producto viene con doblaje al español

I LOVE LOVE LOVE this movie. Saw it first about 8 years ago and it had me totally engaged from the start (The opening is like a cool little movie unto itself). This is such a gorgeous beautiful movie, I love how fluid it is. Superbly acted by absolutely everyone (I love Seymour-Hoffman, Julianne Moore, and Tom Cruise especially). Each subplot is so engaging, you don't want to leave it, yet when you go to the next you're so happy to be back with that character! My only real criticism about this movie is William H. Macy's character never really seemed to fit into the movie. He always seemed like he was in a different movie. PTA is an amazing director, I'm a big fan, and I think this is probably his second best movie, Boogie Nights being the best, even though they are quite different and you can't really compare them. Be prepared for some weird stuff to happen, but realize going in that this is not just any movie, it is a cinematic opera and you need to be prepared to go to some weird places. If that isn't your thing, then you probably won't enjoy it. Quite a few emotionally draining plots, but you see how the characters deal with them and every single one leaves you with a bit of hope no matter how awful it seemed to begin with. Very highly recommended!

P.T. Anderson hat doch auch "Boogie Nights" gemacht ? , dachte Ich mir, als Ich diesen Streifen in der Videothek erstmals entdeckte. Dann kann er wohl nicht sooo schlecht sein. Von wegen... Nachdem "Boogie Nights" - P.T. Andersons zweiter Film - mir aufgrund des umwerfend spielenden Darsteller-Ensembles sofort wahnsinnig gefiel, mußte Ich "Magnolia" erst einmal vedauen, und konnte mir erst nach dem zweiten oder dritten Mal eine Meinung bilden: Atmosphärisch sehr dicht, eine Bildersprache, bei der man eigentlich keinen Ton braucht, trotzdem ein Soundtrack, der jeden hartgesottenen Kerl zum Heulen bringt und obendrauf eine Darstellerriege, die sich leistungsmäßig gegenseitig überbietet. Tom Cruise spielt zum Beispiel besser als er es in "Rain Man" tat, und fällt mit dieser Leistung überhaupt nicht auf! William H. Macy, Julianne Moore, Philip Baker Hall und Jason Robards (um nur einige zu nennen) werfen einen mit Ihrer Leistung einfach um. Und eigentlich war schon hier klar, dass Philip Seymour Hofmann irgendwann einmal einen Oscar bekommt... Dieser Film bringt mich jedes Mal zum Nachdenken, Heulen und Schmunzeln über das Leben, die Menschheit und den ganzen Rest. Sind wir alle entweder Loser oder Winner oder ist jeder irgendwo dazwischen und trotzdem etwas besonderes ? Gibt es überhaupt Unterschiede zwischen uns Menschen oder streben wir doch alle nach den gleichen Zielen? Wer an dieser Frage interessiert ist, kommt um dieses Meisterwerk einfach nicht herum. Und jetzt der Haken; das Teil dauert drei Stunden und diese sind für den Zuschauer sehr intensiv und teilweise auch anstrengend. Diesen Film kann man nicht eben nebenbei zu einem Bier oder in der grossen Gruppe anschauen, man muss sich diesem Film öffnen und ihn an sich heranlassen, damit er sich entfalten kann. Eventuell muss man den Film - so war es bei mir - mehrmals ansehen, um alle Schichten des Films zu erkennen und zu verstehen. Aber dann... seht selbst und traut euch mal einen Film zu "erleben" und nicht einfach nur zu schauen. Und nebenbei, der Soundtrack ist auch sehr zu empfehlen. Darauf gibt es 9x Aimee Mann und 2x Supertramp und die Songs funktionieren auch ohne Film.

Nirgendwo wurden die Geschichten mehrerer Personen so kunstvoll, poetisch und und vom inneren Zusammenhalt verstrickt wie hier! (auch wenn es bei Babel , Amores perros und Tatsächlich Liebe auch hervorragend gelingt!). Hier stehen 8 Personen an einem Scheideweg ihres Lebens und werden in dieser Nacht gezwungen, der Wahrheit ins Gesicht zu blicken. Sei es, dass ein hochbegabtes Kind sich gegen seinen fordernden Vater stellen muss, eine koksende Nutte sich Hals über Kopf in einen Bullen verliebt, ein frauenverachtender Sex-Papst seinen verleugneten Vater am Sterbebett besucht (Tom Cruise - in seiner vielleicht besten Rolle) oder eine opportunistische Frau (Julianne Moore) , die einen 40 Jahre älteren Millionär nur wegen seines Geldes geheiratet hat, plötzlich erkennt, dass dies der einzige Mann ist, den sie vielleicht jemals geliebt hat... (alle Geschichten aufzuzählen, würde den Rahmen sprengen) Alle dieser Schicksale haben etwas Existenzialistisches und gleichzeitig aber nie erdrückendes, weil über allem die große Hoffnung schwebt, dass sie es irgendwie schon schaffen werden, wieder zum "Mensch" zu werden. Über allem schwebt der Hauch des "Göttlichen": Ein Erzähler, der mit seinem "das kann alles kein Zufall sein" versucht, dass wir nach den Zusammenhängen und dem Sinn des Ganzen suchen und letzlich einfach gezwungen werden "zu glauben". Auch die Ankündigungen in den Zwischentiteln mit der prozentual steigendenden Regenwahrscheinlichkeit, macht uns glauben, dass wir hier Zeuge von etwas unvermeidbarem und großartigem werden. Alles wird zusammengehalten von der großartigen Filmmusik von Jon Brion, die es schafft die Episoden untrennbar miteinander zu verknüpfen und das Unmögliche möglich zu machen. Der Regisseur Paul Thomas Anderson schreibt über ihn auf der CD mit dem Score zu magnolia: "Jon is probably the only person on the planet capable of the requests I made musically for this film... 'Jon I want something slow but fast, scary but romantic, sad and happy, is this possible?' Jon would not say yes, he would just play it...perfectly." Etwa genau kann man sich diesen Film vorstellen: er ist eine emotionale Achterbahnfahrt durch die Höhen und Tiefen des Lebens, durch die Altersstufen und sozialen Schichten hinweg. Man wird dabei immer getragen von einem begnadeten Erzähler (Paul Thomas Anderson), von großartigen Schauspielern und einer poetischen Kamera. Es gibt nur zwei Möglichkeiten für einen solchen Film: Man hasst ihn oder - man liebt ihn!

la mejor película que he visto, me cambió la vida, una edición simple pero suficiente para esta obra de arte