Last night I decided to give Boogie Nights another try. I was somewhere between moderately upbeat, mixed and mezzo-mezzo when I first saw it 28 and 1/2 years ago, but I’m afraid it’s gone down in value. Sorry but it has.
The tension-filled, third-act drug deal scene is still terrific, but otherwise I found myself losing patience early on. The basic reason is that director-writer Paul Thomas Anderson show/ so little respect for his San Fernando Valley porn-world characters, and you start to lose patience as you ask yourself, “Jesus, is there anyone in this film who isn’t a figure of ridicule…who isn’t thoughtlessly smug or a dumb-ass, an asshole, a dupe or some kind of none-too-bright?
Yes, okay..there are several exceptions. Mark Wahlberg, Burt Reynolds, Julianne Moore and Heather Graham‘s “Rollergirl” are okay hangs, plus the reasonably sensible second-fiddle characters played by Don Cheadle, Philip Baker Hall, Robert Ridgely and Nina Hartley as well as Thomas Jane‘s moustachioed, coked-up macho guy who loses his mind during the climactic drug deal with Alfred Molina.
But so many others are portrayed as foolish, stupidly vain, naive, not very sharp…gullible or goofy or indifferent 818 yokels who are lacking in fundamental smarts, taste and class. I just got tired of their one-dimensional banality.
I knew the drug deal scene was coming, of course, so I hung in there but man oh man…
Boogie Nights basically makes cynical, snide fun of this low-rent porn demimonde in the same way that Robert Altman‘s Nashville (’75) made fools and hicks out of all its characters except for Keith Carradine, Lily Tomlin and Allen Garfield.











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