One Battle After Another

A lot of folks will get their knickers in a twist over the racial and overlapping sexual commentary in this year's ONE BATTLE AFTER ANOTHER, the latest from wunderkind writer/director Paul Thomas Anderson.  They will note that some of the black women are hypersexualized, maybe some sort of white male fantasy.  Others will complain that the film glorifies terrorism as served up by left wing extremists.  Viewers who lean to the far ends of that pole will criticize the film's failing to properly depict their ideology.  All fodder for debate.

What I don't believe is debatable is that PTA is one hell of a filmmaker, whose aggressive and masterful filmmaking style is something to behold.  A frantic energy and confidence that may draw attention to itself but is damned exhilarating.  Such a tonic in contemporary cinema, when most films are mediocre also-rans at best.  Anderson's love for the medium and his unbound ambitions always lead to something special, even if the results are imperfect.  With BATTLE, he gets closer to perfection than he has in awhile.

Leonardo DiCaprio plays "Ghetto" Pat Calhoun, member of the French 75 revolutionary group, who frees detainees from immigration camps, robs banks, and bombs power grids.  Comrade and lover Perfidia Beverly Hills (Teyana Taylor) joins him on the front lines, but also begins a curious sexual relationship with commanding military officer Steven Lockjaw (Sean Penn).  One you might say is based on mutual intimidation.  Your mileage will vary.  

Perfidia gives birth to a baby girl.  As she's more devoted to The Cause than family life, she abandons Pat and her child.  She will eventually be apprehended.  Lockjaw spares her a prison sentence in exchange for info. on her teammates before she enters a witness protection program.  Which she will also eventually abandon.

Sixteen years later, Charlene (Chase Infiniti) is now known as Willa and hiding in a sanctuary city with her dad, now known as Bob.  Lockjaw, who comes to realize he may be the true baby daddy, will hunt them down.  Mainly because he wants to join the Christmas Adventurers Club, a secret society of upper class white supremacists who naturally wouldn't be down with his biracial activities.

ONE BATTLE AFTER ANOTHER is based on Thomas Pynchon's 1990 novel Vineland.  I feel it is  better than PTA's INHERENT VICE, another Pynchon adaptation.  Having not read either book, I can't tell you how successful Anderson really was in his translations.  But as films, both find a kindred spirit with the author's eccentricities.  More importantly, live and breathe as their own entities. 

The complexities of plot and characterization are rich.  DiCaprio is endearing.  Penn is a bit cartoonish, which suits the character.  This is primo satire here.  Downright insane.  Much of this, in light of the activities of the current POTUS Administration, will seem very of the moment.  A cautionary tale about police states, martial law, etc.  But little of what is being satirized in this movie is anything new when it comes to American politics and what lurks in its shadows.  When you dissect it all, the heart of this film isn't really political.

Benicio del Toro, wonderful as always, plays Sergio St, Carlos, Willa's martial arts instructor and leader of a group of undocumented immigrants.  Fosters a community.  He's highly organized and brings some sanity and calm to Pat/Bob's plight.  He also really loves his Modelo; he could almost be a spokesperson.

What was most noticeable on my first viewing was how successfully Anderson weaved humor into this sprawling tale.  I was expecting something grim.  Should've known better; most of the director's films pulse with wry sentiments.  Here, some bits are broad and laugh out loud funny.  The dialogue, as in PTA'S previous film, LICORICE PIZZA, gets awfully un-PC at times.

Some good action scenes, to boot.  You may reach for the Dramamine during the final car chase.  Especially if you watch this in IMAX.

Johnny Greenwood again collaborates with Anderson and what a score this is.  The piano alone creates unbearable tension, particularly during the scenes with Bob as he scrambles across Baktan Cross, said sanctuary city.  The film is unthinkable without this music.  Elsewhere, PTA again deftly drops pop and rock songs, including oft used tracks like Tom Petty's "American Girl" and Steely Dan's "Dirty Work."  Dan fans will also be tickled by a reference uttered by DiCaprio later in the film.