For a director of Anderson's skill and talent, these are not merely quirks.
If he wished to hide these aspects better then he would have, but instead, he places them deliberately at the centre of the developing story. And so, depending on how familiar you are with comic lore, Barry Egan seems to sound an awful lot like Superman.
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He can fly, he wears a blue suit; he has "so much strength in him you have no idea" and his lover's initials match with the initials of Lois Lane. Further, the seven sisters allude to a star cluster formally named the Pleiades, hinting that Egan is from outer space, and exposure to these sisters results in the aforementioned bouts of rage, providing us with his kryptonite. For a director so focused on hiding details in the very corners and fine creases of each frame, this is far too obvious to be coincidence.
Here Anderson creates a character in the image of Superman because of that character's defining traits.
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Superman is the very embodiment of good, protecting his love and the entirety of her race not because he wants to gain anything, but because it is the right thing to do. Likewise, Egan is shown to overcome the forces of evil and protect Lena not because he has to, but because he truly and deeply wants to. Egan is shown to radiate purity and goodness. Note the flower on the phonebox, blooming in his presence. The conflict between good and evil permeates throughout Anderson's work - be that Doc Sportello coming up against the shady Golden Fang organisation in Inherent Vice or Lancaster Dodd corrupting the mind of the damaged Freddy Quell in The Master , though for either side to come out unscathed, let alone on top, is rarely observed.
The Superman parable here functions to calibrate the moral compass of Anderson's entire filmography and convey the message that only the truly good are rewarded, whereas those who act out of greed or spite, or with hidden intentions, will suffer. In what some see as an anomaly in Anderson's career, not in the sense of its quality, but rather its tone, is contained perhaps the most explicit insight into the laws of morality that govern his universe.
Where his characters often blur the lines between good and evil, here the two are presented as binaries, with an inherently good character coming up against dark forces, in both analogy and reality.
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And so Barry Egan succeeds, and lives happily ever after, not because of his cunning or his strength, but because of his inner goodness and its organic nature - an important lesson for trying times. The Four oh Five. About Us Advertise Contact. Track Of The Day: Matthew Dear re-teams with Tegan and Sara for the devotional 'Horses'.
Low maintain their icy creativity on the often brilliant Double Negative. Objekt unleashes the bustling and croaking 'Secret Snake', from his new album. He has seven overbearing sisters who ridicule and emotionally abuse him regularly and leads a lonely life punctuated by fits of rage and anguish.
In the span of one morning, he witnesses an inexplicable car accident, picks up an abandoned harmonium from the street, and encounters Lena Leonard, a coworker of one of his sisters, Elizabeth. Lena had orchestrated this meeting after seeing him in a family picture belonging to Elizabeth.
Coping with his loneliness, Barry calls a phone-sex line, 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.
After Lena leaves for Hawaii on a business trip, Barry decides to follow her. He arrives and calls one of his manipulative sisters to find out where Lena is staying. When his sister starts abusing him again, Barry snaps and demands she give him the information, which she does. Lena is overjoyed to see Barry. They spend time together and make love. At first, Barry explains that he is in Hawaii on a business trip by coincidence, but he soon admits that he came only for her. When Barry's sister calls Lena in Hawaii, Lena tells her that she hasn't had any contact with Barry, loyally preserving his and their privacy.
The romance develops further, and Barry finally feels some relief from the emotional isolation he has endured. After they return home, the four brothers ram their car into Barry's, leaving Lena mildly injured. With his new-found freedom from loneliness in jeopardy, a surprisingly aggressive and poised Barry adeptly fights off all four of the goons in a matter of seconds, using a tire iron as a weapon. Wanting to make sure Lena is never hurt again, Barry leaves Lena at the hospital and tries to end the harassment by calling the phone-sex line back and speaking to the "supervisor", who turns out to be Dean Trumbell, who is also the owner of a mattress store.
Barry travels to the mattress store in Provo, Utah, to confront Dean face to face. Dean, at first trying to intimidate Barry, finds Barry more intimidating after Barry tells him that he is in love and it makes him stronger than anyone else.
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An end to the harassment is implied, when Dean learns that Barry has not gone to the police, but has come all the way from LA to confront him, with Dean trying to save face by getting in the last word. Barry returns to Lena's apartment, and tells her everything, about the phone-sex episode, and Dean's goons, and begs her for forgiveness, pledging his loyalty and to use his frequent-flier miles to accompany her on all future business trips in just six to eight weeks after his pudding miles are processed. She readily agrees, and they embrace happily. Some time later, Lena approaches Barry in his office while he plays the harmonium.
She puts her arms around him and says, "So, here we go.
The consensus states "Odd, touching, and unique, Punch-Drunk Love is also delightfully funny, utilizing Adam Sandler's comic persona to explore the life of a lonely guy who finds love. Club 's "Top 50 films of the '00s". Roger Ebert praised Sandler's performance in his review for the Chicago Sun-Times , saying, "Sandler, liberated from the constraints of formula, reveals unexpected depths as an actor. Watching this film, you can imagine him in Dennis Hopper roles.
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He has darkness, obsession and power. He can't go on making those moronic comedies forever, can he? As with 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 made 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.