Hard Eight

Writer/director Paul Thomas Anderson's surefooted 1996 debut, HARD EIGHT, does suffer comparisons with his later, far more ambitious films, but is an appealingly spare drama, blessed with rich characterizations from its quartet of stars.  Here's a movie patient enough to actually listen to its actors, to let them act and react believably within milieus of false hopes, Reno and Las Vegas.   Places where Sydney, a rather mysterious man in his sixties, has learned the skills of comp hustling, and much more.  He passes this talent off to a young fellow, one he finds leaning up against a diner, desperate for 6 K to pay for his mother's funeral.

The scene in the restaurant gives a primer as to PTA's method.  There have been many good dialogue scenes in diners elsewhere (think Michael Mann), but the director's words are so natural and believable, yet sounding polished.   In the midst of the conversation is a remembrance and brief flashback that is highly amusing, also pointing the way to Anderson's attention grabbing style of later years.  And even in this simple, small scale film there is still a fair amount of his virtuosity on display. With cinematographer Robert Elswitt (who would become a longtime collaborator) PTA dazzles with shots that never felt show offy to me.  Never detracted from the human drama, which is fairly strong.

The actors are wonderful.  Philip Baker Hall is a treasure as Sydney, a man with strong paternal instincts and behavior toward John (John C. Reilly) for reasons that are conjectured over until confirmation comes later.  Along the way John gets himself in a very unenviable predicament, also involving his girlfriend Clementine (Gwenyth Paltrow), a cocktail waitress who also turns tricks. The scene in the hotel with them and Sydney (and an unfortunate guy) is relentless and electric.  Theatrical but made cinematic by Anderson's framing.  But it would mean nothing without the actors' fire, and all three are excellent here and throughout the picture.

And then there's Samuel L. Jackson as Jimmy, a casino security guard.   He's loud and vulgar, an instant suspicion and source of dislike for Sydney.  This duo get their own tete-e-tete late in the movie, quite revealing.  Sam does his usual brash thing, and here it suits the character, though he's a bit deeper and smarter than you might first surmise.  Watch and listen to his pauses.

Don't forget Anderson regular Philip Seymour Hoffman, who contributes a highly entertaining cameo.

The casinos and their modest Reno surroundings are so perfect for HARD EIGHT, which was originally titled SYDNEY.  There are hidden tales under layers of dust and dim over head lights.  Mirroring that of its characters  - two wise, two simple.  The former are frustrated by the latter's utter wrongheadedness, and there's a story that could've been developed on its own.  So could Sydney's probing of each character, as if he's a prosecuting attorney crossed with a psychoanalyst.  Anderson did not have the budget or the time to tangent off on these, but what he has is a very solid opening to a truly remarkable career.

R.I. P. Mr. Hall.