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