Directed and Written by Paul Thomas Anderson
Starring Alana Haim, Cooper Hoffman, Benny Safdie and Maya Rudolph
Run time 2 hours and 13 minutes
MPAA Rating: R for language, some drug use and sexual material
In theaters November 26

by Rosalie Kicks, Old Sport & Editor in Chief

“Of course I go to the movies…”

Despite it being a Ghoulardi Film Company picture, I did not care for Licorice Pizza.

To date, Licorice Pizza is Paul Thomas Anderson’s most frivolous and gentle film. Yet, I found myself irked. To put it simply: this movie was not for me. Due to my current state emotionally and mentally, I found it extremely difficult making any sort of connection to the material. By the end of Anderson’s tale (most definitely, probably a trip down memory lane) I was left with a bittersweet feeling of “must be nice” to make such a cheeky picture that holds a price tag of $40 million dollars. As a filmmaker and writer that supports my lifestyle working in an industry that is so far removed from my true aspirations, I struggle each and every day to find the motivation to get out of bed. After viewing Licorice Pizza, I was overcome with the urge to just quit following my dreams all together. My typical fate consists of an eight to nine hour day, Monday through Friday staring at the illumination projected by a harsh phosphorescent laptop screen that is causing my brain to become pink slime à la Ghostbusters II. I am now beginning to believe this is its preferred state of being for at least then, I have no ambition.

Set in 1973 in the San Fernando Valley, Gary Valentine (Cooper Hoffman) is a dynamo fifteen year old who comes off well beyond his years. He encounters the twenty-five year old Alana Kane (Alana Haim) during his school’s picture day. Alana is working for the outfit, Tiny Toes, that is responsible for the photography. Despite her somewhat annoyance with Gary’s eye-roll inducing advances, she does appear quite smitten with his invitation for a meet-up. Alana puts aside her reservations and meets Gary at his favorite night spot, Tail o’ the Cock and he orders them a couple of soda pops to discuss their future. There is no doubt Alana struggles to keep up with the fireball that is Gary. Comparatively, their lives could not be more different. In addition to being a high schooler, Gary works with his mother at her public relations business, moonlights as an actor and is an entrepreneur of sorts. A picture is painted of Alana: a lost, confused twenty-five year old with no direction that is looking to hitch her wagon to a star that could take her to greener pastures with a purpose. Fortunately, Gary needs a guardian for an upcoming acting event in New York as his mother is unavailable. Alana accompanies him which essentially sparks the beginning of their madcap adventures.

Shortly thereafter the two go into the water bed business, which one can only imagine was a bit of a nod to his Cooper’s late father, the mattress man himself Phillip Seymour Hoffman and his role in Punch Drunk Love. Gary also attempts to assist Alana when she decides to embark on an acting career. Gary being a seasoned pro, in terms of auditioning, instructs her to “just say yes” in regards any questions the casting agent may pose about being able to perform a particular activity or skill (ie. horseback riding, swimming, fencing, etc). Gary confidently informs Alana that she can always learn how to do something if she were to get the part. I felt this was a really great example of a male’s thought process during that time era (and still now, I suppose). The idea that nothing can stand in Gary’s way, not even being unqualified. This was another aspect in which I struggled to make a connection with the characters. Alana comes off as someone trying to figure herself out, which poses the question why is she looking for answers from a fifteen year old boy? There was a scene in which she witnesses from afar Gary with his teenage pals using a gasoline container’s nozzle to imitate a penis and the look on her face is, “What am I even doing with my life?” Believe me Alana, I pondered the same and I wanted this moment to be one of reflection for you. Watching this all play out was extremely frustrating and when the writing led to romantic sparks between the two characters I inevitably felt nauseated. To be clear the age difference didn’t factor into my dislike of their relationship. In fact throughout the film age served little importance with any of the characters. For me the lack of desire to ultimately see these two end up together was due to simply not caring about the characters or their fate.

There are many moments during Licorice Pizza that showcase why I do believe Paul Thomas Anderson (PTA) to be one of our greatest living filmmakers. Where the film lacked in chemistry between the two characters, it did not in the technical aspects. PTA has such strong technical skills and it comes through in the superb cinematography, a role that he shared with Michael Bauman. I’d love to see PTA direct someone else’s script at some point as I do believe he is one of the few that understands the importance of framing and truly crafts perfectly calculated images to show to his audience. I think it would be absolutely wild to see him attempt a slasher flick.

I think the most surprising to me about this film is my lack of excitement. It has a lot of things that typically get my heart pumping: interesting production design and costumes, a quirky story set in the midst of old Hollywood becoming new Hollywood and outlandish characters. There are scenes that I suspect are to be seen as humorous but instead just left me feeling empty. This would include the Bradley Cooper (as producer/hairdresser Jon Peter) cocaine riddled freak out scene. I really did not need that in my life. I trust if I would have watched this movie a couple years ago I would have a different take. In the current state though, in which many of us have lost close to two years of life due to a pandemic it is hard for me to have concern for a motion picture such as this. When the credits started to roll, I couldn’t help but think how many other films could have been made if the money were spread out amongst filmmakers. Sure one can surmise, such is life in terms of Hollywood filmmaking… but does it really have to be?