There comes a point in most Paul Thomas Anderson films where the viewer realises they've been drawn completely under the filmmaker's spell.
The film is based – at least loosely – on the 1990 novel Vineland by reclusive literary giant Thomas Pynchon, whose work Inherent Vice Anderson previously adapted into one of his more divisive efforts in 2014. But whereas that earlier instance was more or less a straight-forward case of adaptation, book readers hoping for a direct page-to-screen translation here should adjust their expectations.
View oEmbed on the source websiteIn doing so, he very much keeps the rebellious spirit, absurdist comic tone and thematic weight of Pynchon's work in tact, with both book and film sharing a disgust of militarised authoritarian figures and dismay at some of the more nonsensical nuances of living in a world which seems to be collapsing around us. He also wisely puts front and centre a touching father/daughter relationship, giving his film an undeniable emotional heft.
Fast forward 16 years, and Bob is now living life in a paranoid, complacent funk, completely sapped of his revolutionary spirit. He watches old movies, smokes copious quantities of dope and largely fails in his duties as single-father to teenage daughter Willa (Chase Infiniti, a revelation), who appears to have inherited some of her mother's spunkiness.
The resulting chase is equal parts thrilling and uproarious, zipping by at a perfect pace that makes the film feel considerably shorter than it's near three-hour runtime. Bob's hapless attempts to readjust to old French 75 ways of working provide the film with some of its biggest laughs – DiCaprio pitch-perfect in his portrayal of a frustrated layabout thrust back into the fold – while a sinister, evil organisation named The Christmas Adventurers Club is the stuff of satirical genius.
Given his general mastery, it's no surprise that Anderson also proves his credentials as a first-rate director of action – staging the film's myriad set pieces in unpredictable and inventive ways, never more so than in an astoundingly realised car chase in the final act. Meanwhile, Johnny Greenwood's frantic, piano-led score is the perfect complement.
But there's hope and poignancy here, too. It's a film that acknowledges the vital importance of community and the revitalising power of genuine, heartfelt human connection, especially in a world that sometimes seems designed to undermine those things. It is – without a shadow of a doubt – the film of the year so far.
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