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Of course, only a few people will know the store, but what matters is the feeling it creates (like Anderson says, “I suppose if you have no reference to the store, it’s two great words that go well together and maybe capture a mood”). The title is knocked off from the name of a local music record store he used to frequent as a youngster. This is the filmmaker looking back at a period when he was a kid, lovingly recreating cultural details including looking at the Billboard Top 100 of a specific year and using some of those songs. The editing pattern at first feels like glaring time lapses before you settle into the rhythm, which, I guess, works the way human memory works. It’s a period in Alana’s life when Gary and she aren’t together, something that keeps happening throughout the film: Alana and Gary team up and drift apart, only to get back together.

#Pizza tamil movie cast series

In a cinematic tour de force of a sequence in a golf course, Penn’s character performs an impromptu bike stunt in front of an audience, so consumed by his own vanity that Alana is thrown off from it (a weirdly comic moment, among a series of weirdly comic moments, shot with with film stock suited for night and low-light scenes). Alana, it is implied, is looking for a way out of her family home (presided over by her overbearing Jewish father), by clinging on to men of influence, including being an arm candy actress to a movie star played by Sean Penn. But she is the ‘hero’, turning just another phone call with the client into a scene-stealing seduction act, and in a crazily adventurous stunt drive a truck without gas.Īt the same time, it’s unafraid to come across as politically incorrect in its somewhat stereotypical depiction of the character. Both come from not so affluent working families. He is smart and enterprising, turning his dim career possibilities as a child actor into the entrepreneurial idea of selling waterbeds. Even though Licorice is about both Alana and Gary, it is favoured towards her, calling out on his toxicity now and then. The film Anderson had in mind while making it is American Graffiti, a certain kind of guys-centric film. (“I’m not trying to pressure you”, “You are pressuring me”, “You are. Somehow, it’s able to walk the tightrope between being true to the seventies and looking at that kind of behaviour through a 2021 lens. Gary’s wooing is aggressive, his confidence winning. The scene goes something like this: Not-yet-fifteen-year-old Gary is trying to woo twenty-five-year-old – or so she claims – Alana. On the soundtrack is Nina Simones’ “July Tree”, a time-specific song. There’s a casual mastery behind the scene’s shooting style, in the freewheeling camera and the lovely, warm California sunlight.

Even then, it’s hard not watch the opening sequence without a big smile on your face – a walk-and-talk meet-cute between the two young lovers, which has the kind of witty, flirtatious repartee of a Woody Allen romance (indeed, one of Anderson’s references was Manhattan). It is drifting and digressing, loose and shaggy, and defiantly anti what’s in vogue (closest to Anderson’s Inherent Vice than any of his other films, maybe Boogie Nights to an extent). You are more likely to enjoy it if you are a certain kind of cinephile. Licorice Pizza is Paul Thomas Anderson’s nostalgic, utterly charming, and at times melancholy, invocation of the past.