Punch-Drunk Love
Film history is the story of films constantly building on one another. If one contemporary director knows this, it’s Paul Thomas Anderson, PTA for professional purposes. In PTA & HIS MASTERS we take a look at the unofficial filmic predecessors of Paul Thomas Anderson. We place the director – arguably one of the most important directors of his generation – next to the influences he unabashedly cites in his work. In PTA & HIS MASTERS we link PUNCH-DRUNK LOVE to Mark Sandrich’ SHALL WE DANCE (1937).
“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.” What leads to this atypical and somewhat aggressive declaration of love is a crazy ride that sprouted from PTA’s determination to create a ninety minute romantic comedy after the more than three hour long MAGNOLIA. And that was not all. The main character had to be portrayed by comedian Adam Sandler. The reason why? Sandler’s movie BIG DADDY is one of PTA’s favourite comedies. “BIG DADDY had Sensitive Sandler,” declares the director, “there’s a scene in it where he’s screaming at his father over the telephone that I used to rewind over and over. That’s when I really thought, I have to find this person. I have to work with this person.” And so it happened in PUNCH-DRUNK LOVE. When questioned if he was surprised that Sandler accepted the part, the director noted: “I’m a good director so he knew it would be a good movie.”
Sandler plays the socially awkward Barry Egan. Barry hates himself and his life. He is the only brother among seven sisters, who are constantly ridiculing him. Barry owns his own business and spends his time collecting coupons. Regular aggressive outbursts are his only outlet. But then he meets the mysterious Lena and the world finally seems bright. However their budding romance is threatened when Barry falls prey to a gang of scammers.
For PUNCH-DRUNK LOVE PTA looked at the work of Blake Edwards, including THE PINK PANTHER (also part of our programme!) and the whimsy of Jacques Tati or Jean-Luc Godard’s UNE FEMME EST UNE FEMME. But it were the musicals of Fred Astaire and Ginger Rogers that set the tone of the quirky romance. For example, Mark Sandrich’ SHALL WE DANCE (1937) was an important source of inspiration. “Even though they were musicals they’re really romances more than anything else.” Those musicals helped de director with the premise of PUNCH-DRUNK LOVE, “They’re always about him getting with her and her getting with him, and fighting it out.” PTA pays homage to classical Hollywood musicals in his own unusual way.
PUNCH-DRUNK LOVE feels like a trip through the restless mind of business owner Barry, that shows us that love apparently does conquer all. And can even save us too. PTA’s frequent collaborator cinematographer Robert Elswit lights every frame with a kaleidoscope of colour. The score by Jon Brion feels at the same time baroque and futuristic and accompanies the tempo of Adam Sandler’s performance to the T. PTA manages to capture the delirium that is attached to new love. Because love is as absurd as it is powerful, as impossible as it is invaluable. Just like a harmonium falling from the sky or pudding cups opening the gates to a life of adventure.
Our Valentine’s Day movie, on 35mm! So here we go.
