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Punch-Drunk Love

 
AMG AllMovie Guide:

Punch-Drunk Love

Plot

Adam Sandler and Emily Watson star in Punch-Drunk Love, an odd romantic comedy from gifted young director Paul Thomas Anderson. Sandler plays Barry Egan, a shy sad-sack with a great deal of repressed anger that occasionally bursts forth in sudden violent outrages, who falls in love with Lena Leonard (Emily Watson), a co-worker of one of Barry's seven sisters. After calling a phone-sex line, Barry is extorted by bad-guy Dean Trumbell (Anderson regular Philip Seymour Hoffman), who eventually sends four goons to assault Barry and get the money. This film was screened in competition at the 2002 Cannes Film Festival, where Paul Thomas Anderson was named Best Director. ~ Perry Seibert, Rovi

Review

While Punch-Drunk Love is aggressively idiosyncratic, it most certainly fits thematically with Paul Thomas Anderson's other works. Hard Eight is about a man creating a new family in order to overcome the guilt he feels for destroying his own; Boogie Nights is about creating a new family to escape the dysfunction of one's biological family; and Magnolia is about confronting and making peace with family members. Punch-Drunk is about a man so emotionally henpecked by his seven sisters that only the love of a woman can get him to break through the layers of defensiveness he has constructed around his inner self. Adam Sandler is superb as Barry Egan. Anderson has successfully integrated the violent subtext of Sandler's comedic persona and transformed that element of his personality from something that gets laughs into something that engenders sympathy and communicates deep psychological issues. Anderson's precise framings as well as his superb feel for sound and music are on display throughout the film. The style and substance of the film meld superbly throughout, but never more so than during the extended shot involving Barry talking to a phone sex operator. The single take communicates his lonesome existence by revealing the sparsely decorated rooms, while Sandler's performance in the scene expresses his desire to change as well as the difficulty he faces in his attempts to make those changes. The whole film is tight, controlled, and utterly charming. Disquietingly odd and richly emotional, Punch-Drunk Love continues to show why Paul Thomas Anderson may be the most interesting filmmaker of his generation. ~ Perry Seibert, Rovi

Cast

Credit

Sue Chan - Art Director, Dan Collins - Associate Producer, Cassandra Kulukundis - Casting, Mark Bridges - Costume Designer, Adam Druxman - First Assistant Director, Paul Thomas Anderson - Director, Leslie Jones - Editor, Jon Brion - Composer (Music Score), William Arnold - Production Designer, Robert Elswit - Cinematographer, Joanne Sellar - Producer, Daniel Lupi - Producer, Paul Thomas Anderson - Producer, Jay R. Hart - Set Designer, Lori Noyes - Set Designer, Ronald Judkins - Sound/Sound Designer, Christopher Scarabosio - Sound/Sound Designer, Paul Thomas Anderson - Screenwriter, Phil Benson - Supervising Sound Editor

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Punch-Drunk Love

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Punch-Drunk Love

Theatrical release poster
Directed by Paul Thomas Anderson
Produced by Paul Thomas Anderson
Daniel Lupi
Joanne Sellar
Written by Paul Thomas Anderson
Starring Adam Sandler
Emily Watson
Music by Jon Brion
Cinematography Robert Elswit
Editing by Leslie Jones
Studio Revolution Studios
New Line Cinema
Distributed by Columbia Pictures
Release date(s) November 1, 2002 (2002-11-01)
Running time 95 minutes
Country United States
Language English
Budget $25 million
Box office $24,665,649

Punch-Drunk Love is a 2002 romantic comedy-drama written and directed by Paul Thomas Anderson, starring Adam Sandler and Emily Watson. Philip Seymour Hoffman and Luis Guzmán also appear.

After the release of his previous film, Magnolia (which ran over three hours long), Anderson stated that he would like to work with Adam Sandler in the future and that he was determined to make his next film 90 minutes long.[1]

Sandler won positive reviews for his role in his first major departure from the broader comedies that had made him a star. Roger Ebert wrote in the Chicago Sun-Times that "Sandler, liberated from the constraints of formula, reveals unexpected depths as an actor. Watching this film, you can imagine him in Dennis Hopper roles. He has darkness, obsession and power."[2] He won Best Actor at the Gijón International Film Festival and received a Golden Globe nomination.

The film was produced by Revolution Studios and New Line Cinema, and distributed by Columbia Pictures; it features the video artwork of Jeremy Blake in the form of visual interludes.

Contents

Plot

Barry Egan (Adam Sandler) owns a company that markets themed toilet plungers ("fungers") and other novelty items. He has seven overbearing sisters who ridicule and emotionally abuse him regularly and leads a very lonely life punctuated by fits of rage. In the span of one morning, he witnesses a bizarre car accident, picks up an abandoned harmonium from the street, and encounters Lena Leonard (Emily Watson), who orchestrated the meeting after seeing him in a family picture belonging to his sister Elizabeth (Mary Lynn Rajskub), a co-worker of Lena's.

Barry calls a phone sex hotline for conversation, but the operator attempts to extort money and sends her four henchmen, who are brothers, to collect. This complicates his budding relationship with Lena, as well as his plan to exploit a loophole in a Healthy Choice promotion and amass a million frequent flyer miles by buying large quantities of pudding (based on the true story of David Phillips). After Lena leaves for Hawaii on a business trip, Barry decides to follow her. He arrives and calls one of his manipulative sisters to learn where Lena is staying. When his sister tries manipulating him again, Barry snaps and demands she give him the information, which she does. Lena is unexpectedly overjoyed to see Barry, and they have a pillow talk scene. At first, Barry explains that he is in Hawaii on a business trip by coincidence, but he soon admits that he came to pursue a romantic relationship.

After they return home, the four brothers ram their car into Barry's, leaving Lena mildly injured. An enraged Barry is attacked by the brothers, one of whom wields a tire iron. With surprising skill, he fights them off despite being outnumbered. He later leaves Lena at the hospital and tries to end the harassment by calling the phone-sex line and speaking to the "supervisor", who turns out to be Dean Trumbell (Philip Seymour Hoffman), owner of a mattress store. Barry travels to Provo, Utah to confront him in person. Dean, at first trying to intimidate Barry, finds Barry much more intimidating and Barry forces him to leave him alone. This scene is made more intimidating by the fact that Barry carried the phone that he had called Trumbell with all the way to Utah and is holding it at his side.

Barry tells Lena his story and begs her for forgiveness, pledging to use his frequent-flier miles to accompany her on all future trips. She readily agrees, and they embrace happily. Lena approaches Barry in his office while he plays the harmonium. She puts her arms around him and says, "So, here we go."

Cast

Reception

Paul Thomas Anderson won the award for Best Director at the 2002 Cannes Film Festival.[3]

Rotten Tomatoes gives it a 79% "fresh" rating.[4] The Internet Movie Database rates it at 7.4/10. The movie came at #33 in the AV Club's "Top 50 films of the '00s".[5]

Filmmakers Lee Unkrich and Judd Apatow have both cited it as one of their favorite films.[6]

Score and soundtrack

The score to Punch-Drunk Love was composed by Jon Brion. As with the previous film Magnolia, Brion and director Paul Thomas Anderson collaborated heavily for the production of the film's score. However, rather than scoring the film after rough footage had been shot, Brion created compositions during the filming of Punch-Drunk Love. During the scoring process, Brion would experiment with tones and sounds, carefully making note of what Anderson would respond to. Anderson himself would create vocal tempos he would envision in the score and use them on set, even to the extent of inspiring the pace of Adam Sandler's performance.

The film's score features heavy use of the harmonium, an instrument that Anderson knew he wanted in the film before he had even completed the script. Brion introduced Anderson to this instrument and many scenes between Adam Sandler's character and the instrument were inspired by Brion. For instance, Brion once found a harmonium with a hole in its bellows before going on tour with Aimee Mann. To fix the problem, he covered the hole with duct tape. An identical situation is found in the film.

References

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