Want to take a journey into my psyche? Alright – lets go. I’ve always liked “Minority Report” very much, and one of the things that I’ve bonded with in the film is the scenes where Tom Cruise is organizing people’s premonitions. Not only is this a wonderful scene and Spielberg’s best film since “Schindler’s List”, but whenever someone asks me how my mind works, I always reference “Minority Report”.
On average I would say that I have four to seven thoughts that are running through my head at the same moment. They’re either memories, thoughts or other randoms enigmas that travel through my brain. It’s almost as if all these thoughts are spinning on a drum, and I can see all of them at once, sometimes I slow certain thoughts/memories down while others continue to spin.
I organize them, the best I can. Sometimes I’m so deep in thought it overlaps what I am currently doing. It’s not that I’m ADD or have a hard time focusing on things – that’s not it at all. Someone once told me they can see beyond my eyes, and they can see a cloud of thoughts, like a storm brewing behind my eyes. They are correct, and they are the only person that’s ever noticed that.
Anyway, this is yet another example how film has a direct correlation to my life.
With Melora Walters, Tom Cruise, Melinda Dillon, John C. Reilly, Phillip Seymour Hoffman, Ricky Jay, William H. Macy, Alfred Molina, with Jason Robards and Julianne Moore, and Phillip Baker Hall
“As the good book says: we may be through with the past, but the past ain’t through with us.”
Nothing is a matter of chance – there is no such thing as luck. Paul Thomas Anderson who is undoubtedly the most important filmmaker of our generation takes us through a journey of crisscrossing lives in LA. There are ten major characters that are all linked together through one man – Earl Partridge (Jason Robards) who is a big wig television producer who is dying. He produces a game show (name?) “What Do Kids Know?” hosted by Jimmy Gator (Phillip Baker Hall) who has just been diagnosed with cancer. Jimmy’s wife Rose (Melinda Dillon) is supportive of him, loves him but can’t help but wonder about why their daughter Claudia (Melora Waters) is addicted to drugs and refuses to see them. Claudia starts a strange and odd romance with a police officer Jim Kurring (John C. Reilly).
There is a young child prodigy on the game show, Stanley (Jeremy Blackman), who is a direct reflection of the child prodigy thirty years ago, “Quiz Kid” Donnie Smith (who is played as an adult by William H. Macy). Earl Partridge’s caretaker is Phil Parma (Phillip Seymour Hoffman) who takes care of Earl while his wife Linda (Julianne Moore) drinks and swallows prescription drugs. Earl’s last wish is for Phil to get a hold of Earl’s estranged son, the egotistical motivational speaker who teaches men to “Seduce and Destroy” women – Frank T.J. Mackey (Tom Cruise).
If you followed this so far, it just gets even more unbelievably complicated from here with secondary characters that branch from the main ones. Alfred Molina comes back from his second PTA outing as Solomon Solomon – one of two brothers who run an electronics store that employs Donnie Smith because Solomon feels sorry for him. Tarantino alum Michael Bowen plays the struggling actor who’s Stanley’s father who is using his kid for the money he’ll earn. Frequent PTA and David Mamet player Ricky Jay acts as narrator and as Burt Ramsey, the director of “What Do Kids Know?” Luis Guzman is back in his comedic relief form as an Adult on the game show panel playing against the Kids. Henry Gibson is a philosophical drunk man who drinks at the same bar Donnie Smith does – the two muse together in a hostile relationship. And of course – Robert Downey, Sr. shows up as an operator in the control room of “What Do Kids Know?” and Thomas Jane has a two second cameo as a young Jimmy Gator.
This film is built upon it’s screenplay like every other Anderson film (since I don’t care at all for “Punch Drunk Love” I don’t acknowledge it as a PTA film) – but a great screenplay isn’t enough for an Anderson film. The original music by Aimee Mann is unbelievable which adds to the authenticity and remarkable showing of this film. Her music was the central foundation of this film – her music inspired Anderson to create the character of Claudia, and all the other characters were branched off from her. His usages of two Supertramp songs are just perfect – he’s ranked with Scorsese and Zach Snyder for his usage of popular music in film.
This film deals with the universal feelings of the absorbent emotional pain of loneliness and abandonment. After the prologue of Ricky Jay narrating three random events that at a quick glance all seem like a matter of chance – they are anything but. The film opens with Aimee Man covering Three Dog Night’s “One” and we are hurried and rushed through quick chaotic character introductions. What this film leaves us with is the signature plethora of beautiful long shots that Anderson is so well known for.
But, what truly makes this film absolutely wonderful is the exceptional cast of actors that bare their souls to us.
Jason Robards as Earl Partridge: Robards is a wonderful actor who seems to go overlooked even though he won two back to back Best Supporting Actor Oscars. He is unbelievably wonderful in this film. He’s an old lonely man who is bitter and left rambling about life, about “the goddamn regret”.
Melora Waters as Claudia: In an odd way Claudia is the bedrock of this film. You can totally see how Anderson wrote her first and how the other characters branched from her. She gives a painfully heartbreaking performance in the film. She’s amazing and you can’t help but think that she’s the alter ego to Aimee Man.
Tom Cruise as Frank T.J. Mackey: In an already impressive career Tom Cruise is the one who steals this film with a career best performance. He will never, ever be able to top his performance in this film. His character is so filled with absolute bullshit he actually believes it. The scene he shares with Jason Robards is one of the finest moments in cinema history.
Phillip Baker Hall as Jimmy Gator: This is by far my favorite character from the film. He’s this well liked and very distinguished man, but on the inside he’s hollow and heinous. I remember being in High School and seeing this film, and seeing Phillip Baker Hall and was amazed at what a terrific actor he really is.
John C. Reilly as Officer Jim Kurring: I know I’ve said this before, and of course I’ll say it again: remember when John C. Reilly was a good actor?
Phillip Seymour Hoffman as Phil Parma: This was the first film when I realized what an awe inspiring actor Hoffman really is. He’s pathetic and weak in this film – but in a way he’s the bridge that closes a lot of gaps. While watching this film, I couldn’t even imagine what it would be like to be his character with events that unfold.
William H. Macy as “Quiz Kid” Donnie Smith: Wow. Remember when William H. Macy was a good actor?
Julianne Moore as Linda Partridge: It’s almost as if she’s plays the daughter of her “Boogie Nights” character. Moore is at her best when she’s selfish, an addict and fucking insane. People talk about how they can’t believe Leonardo DiCaprio hasn’t won an Oscar yet – fuck that – Julianne Moore should get a Lifetime Achievement Oscar now.
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Jeremy Blackman as Stanley: Undoubtedly the weakest link in the cast – but he’s still pretty amazing for a child actor.
Melinda Dillon as Rose Gator: I’ve never felt so bad for someone in my entire life. Jesus…
There is a scene in this film that I had never, ever seen before. Most people give “Almost Famous” credit for a scene of this style. They are idiots. I can talk about this film for days. But I won’t – I’ll leave you with this:
“The Color of Money” – 1986. Dir. Martin Scorsese. With Paul Newman, Tom Cruise, Mary Elizabeth Mastrantonio and John Tuturro.
“You gotta have two things to win. You gotta have brains and you gotta have balls. Now, you got too much of one and not enough of the other.”
This film catches up with Fast Eddie Felson twenty-five years since we last saw him in “The Hustler”. Now Fast Eddie is older, wiser and a liquor salesman. He’s no longer a pool player, but he’s still a hustler. The film opens with a great narration by director Martin Scorsese explaining the rules of nine ball and how luck is an art form to some people.
Eddie Felson is still smooth, fast talking and cooler than shit. He may be older, but Newman had aged so well, I’d even have slept with him. This time around Eddie meets Vincent, a young, fast talking, charismatically egotistical young pool hustler. He is a mirrored image of Eddie thirty years ago.
Eddie than gets to know Vincent, and his domineering girlfriend Carmen, and the three of them embark to Atlantic City to enter into the country’s biggest billiard tournament. Along the way, they hustle and get to know one another. Newman takes on the role of George C. Scott from the first film; he takes on the role of the mentor to Cruise. He tries to break Vince’s ego, and tries to get him to hone his skills.
Newman is excellent (that goes without saying) – but Cruise gives one of his top five performances of his career as the young and cocky pool shark. Mastrantonio gives a decent performance (although I’ve never been much of a fan of hers) and Helen Shaver who plays Eddie’s girlfriend is terrible.
I know you’ll tire of me stating this, but “The Color of Money” wasn’t a personal project for Scorsese – but – the entire film feels like a vintage Scorsese film. His use of popular music is impeccable, he uses Eric Clapton, Muddy Waters, Robert Palmer and in one of my all time favorite Scorsese scenes ever, “Werewolves of London” by Warren Zevon.
Scorsese is a master at brilliantly executing his shots. Once the three of them reach Atlantic City and they enter the pool hall, there is an amazing shot of the three of them standing in profile. Newman and Cruise play off of each other so well; it’s a shame that they never made another film with each other.
"Smell that?" - "What, smoke?" - "Money..."
I’ve said for a long time that Newman winning his long overdue Oscar for “The Color of Money” was a make-up Oscar. It is and it isn’t. Bob Hoskins should have won that year for Neil Jordan’s “Mona Lisa” – but Newman is pretty fucking great in his second turn as Eddie Felson. The film comes down to an epic show down between Vincent and Eddie – and it’s wonderful to watch. Paul Newman is the man.
The authenticity is what makes the film flow incredibly well. All of the shots of Newman and Cruise playing pool are actually them making the shots. There’s not fancy camera editing and cuts to trick us into believing that Newman and Cruise are making these shots, they actually are.
I found myself wondering why George C. Scott or Jackie Gleason’s characters weren’t mentioned, or even had cameos. I think the answer to that is that Eddie left that life, and doesn’t refer back to it ever – until he meets Vincent. What I really enjoy about “The Color of Money” is that the film exists on its own terms. It doesn’t rely, or even need “The Hustler” to exists. One quick note – Jake LaMotta was in the first film, “The Hustler”, and LaMotta was the center of Scorsese’s so-called masterpiece “Raging Bull”. So maybe this film is a little more personal than I thought?
Pompous Film Snob 