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Punch-Drunk Love (2002)
Normally, Adam Sandler does not impress me. I cannot think of one movie that he has been featured in that I care for. His films are excessively idiotic and lack charm in all areas and I find that viewing them either kills my brain cells or gives me an hour and a half to contemplate suicide. Cannes honored Paul Thomas Anderson’s (Boogie Nights, Magnolia) Punch-Drunk Love by giving it the best director award and now I can see why. Anderson has been the first director to get a performance out of Adam Sandler, and not just a good one, a great one.
Do not misunderstand me, Adam Sandler fans will still be pleased with this film. Sandler stars as Barry Egan, your stereotypical Sandler anger management character. However, what Anderson does is takes this trait and actually gives the character a reason and background for sudden bursts of fury. Egan is a shy, confused victim and the brief fits of rage seem fitting in the character.
The story begins as Egan overlooks the Los Angeles valley, which in the glow of the coming sunrise mirrors the surrealistic styles of the film. A small piano is dropped out of a van after an unexpected event and Barry hauls it to his nearby business, a novelty toiletry company. During these opening moments, he encounters Lena, a secretive, sweet English woman (played especially well by Emily Watson). We notice a brief burst of chemistry, but Barry’s personality causes him to retreat into his turtle shell. The two characters begin to experiment with a relationship reminiscent of Amelie with some bizarre interactions.
There are other plot threads encompassing the romance. Barry’s short attention span goes from calling a phone sex line and being blackmailed by the sleazy Dean (Anderson regular Phillip Seymour Hoffman), taking advantage of a poorly worded campaign marketing frequent flyer miles for cups of pudding, running his business, to fights with his seven sisters. However, it is his attraction with Lena that drives the plot and causes Barry to re-evaluate his personality and find another venue for his emotions.
The only complaint I have with Anderson’s film is it’s length. At an hour and a half, Punch-Drunk Love is far too short. It doesn't need to be the three hour length of Magnolia or Boogie Nights, but I would have loved to see more of Barry’s interactions with Phillip Seymour Hoffman, his sisters, and his co-worker, Luis Guzman (Traffic, Boogie Nights). The film doesn't cut anything short, but I found myself enjoying the film more and more as it went on and I was sad to see it end. However, with the excellent cast, direction, writing, and some beautiful music and visual flair, Anderson does not disappoint by bringing us one of the best films of the year and a new face to Adam Sandler.
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