Thursday, January 6, 2022

Inherent Vice (USA: Paul Thomas Anderson, 2014)


Inherent Vice (USA: Paul Thomas Anderson, 2014: 148 mins)

Bernstein, Arielle and Nelson Carvajal. "The Inherent Vice in Paul Thomas Anderson's Films: A Video Essay." Press Play (January 2, 2015)

Brody, Richard. "Paul Thomas Anderson's Nostalgia Trip." The New Yorker (January 9, 2015)

Flight, Thomas. "The Evolution of Paul Thomas Anderson." (Posted on Youtube: December 21, 2021)

Jack's Movie Reviews. "Paul Thomas Anderson - Finding a Purpose In Life." (Posted on Youtube: March 11, 2017)

Jones, Kent. "What’s Up, Doc?" Film Comment (November/December 2014) ["The dream horizons and phantom vibes of 1970 California are brought tangibly close in Paul Thomas Anderson’s spaced-out private investigation."]

Knudsen, Tyler. "What I learned (about filmmaking) from watching Inherent Vice." (Posted on Youtube: December 10, 2014)

Lane, Anthony. "Swinging Seventies: Inherent Vice." The New Yorker (December 15, 2014)

Lee, Kevin B. "The Career of Paul Thomas Anderson in Five Shots." (Posted on Vimeo: 2013)

Morgan, Kim. "Inherent Vice." The New Beverly Cinema (May 16, 2017)

"Paul Thomas Anderson." The Close Up #1 (November 2014)

Ratcliff, Travis Lee. "The Legacy of Paranoid Thrillers." (Posted on Vimeo: June 2017) ["Paranoid thrillers are constant in cinema's history, but at any given moment they reflect our specific anxieties back to us and reveal how we feel about our institutions. Here, I explore how paranoid thrillers crystalized as a genre in American cinema and examine the possibility of a contemporary renaissance in conspiracy fiction."]

Ratzlaff, Jeremy. "Paul Thomas Anderson: A Chronological Timeline." (Posted on Vimeo: November 2015)

Sabo, Lee Weston. "Peace Out and Fuck You: Paul Thomas Anderson’s Inherent Vice." Bright Lights Film Journal (January 20, 2015)

Warren, Ethan. "The Cinema of Paul Thomas Anderson: American Apocrypha (Columbia University Press, 2023) New Books in Film (March 29, 2023) ["Paul Thomas Anderson’s evolution from a brash, self-anointed “Indiewood” auteur to one of his generation’s most distinctive voices has been one of the most remarkable career trajectories in recent film history. From early efforts to emulate his cinematic heroes to his increasingly singular late films, Anderson has created a body of work that balances the familiar and the strange, history and myth: viewers feel perpetually off balance, unsure of whether to expect a pitch-black joke or a moment of piercing emotional resonance. The Cinema of Paul Thomas Anderson: American Apocrypha (Columbia UP, 2023) provides the most complete account of Anderson’s career to date, encompassing his varied side projects and unproduced material; his personal and professional relationships with directors such as Jonathan Demme, Robert Altman, and Robert Downey Sr.; and his work as a director of music videos for Fiona Apple, Joanna Newsom, and Haim. Ethan Warren explores Anderson’s recurring thematic preoccupations―the fraught dynamics of gender and religious faith, biological and found families, and his native San Fernando Valley―as well as his screenwriting methods and his relationship to his influences. Warren argues that Anderson’s films conjure up an alternate American history that exaggerates and elides verifiable facts in search of a heightened truth marked by a deeper level of emotional hyperrealism. This book is at once an unconventional primer on Anderson’s films and a provocative reframing of what makes his work so essential."]

---. "On the Hazy, Ethereal Noir of Inherent Vice." Crime Reads (March 9, 2023) ["With Inherent Vice, Anderson reconfigures many of his now-hallmark techniques to create effects that are often simultaneously provocative and evocative, all in the service of adapting the worldview of an author long thought unadaptable. Anderson again mixes the tropes of multiple genres, but where injecting spasms of comedy into prestige drama is relatively easy to parse once the surprise has worn off, the hazier mix of comedic and dramatic elements in Inherent Vice contributes to a far more ambiguous tone that might best be described as madcap naturalism. Anderson (along with Robert Elswit) adopts the most unusual visual palette that he has used since Punch-Drunk Love, this time slightly desaturating the image in order to create a feeling of fading nostalgia, as though the audience is watching an image that has been left in the sun for years. The effect is considered and deliberate, yet, like much of Boogie Nights’ visual language, it runs counter to how the viewer is conditioned to receive nostalgic imagery (which is often presented with some form of heightened visual language in keeping with the power of memory, rather than aping the physical qualities of antique objects), meaning that the effect is cerebral rather than immediately empathetic."]

The Directors Series - Paul Thomas Anderson [Part 4] from FilmFrontier on Vimeo.

The Directors Series- Paul Thomas Anderson [Part 5] from FilmFrontier on Vimeo.

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