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The precision with how he constructs the scenes and their mood around her voice feels both methodical and intuitive, a testament to both Anderson’s ability and the emotional intelligence of Mann’s music. It’s also worth mentioning how Aimee Mann and her music were something of a muse for Anderson in writing the film.
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The music and structure here work together to embody a self-medicated malaise, intentionally like a prescription that hasn’t yet gotten the mix right. However, the director is also giving us a barrage of information in sharp pans and disorienting zooms.
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The cumulative effect of a relatively short song stretched out over double its length gives a sense of the long endured depression among the people Anderson is introducing. What goes unnoticed on the first watch is the track’s repetition over a rather long and frenetic montage. A curse of the biblical variety destined to perpetuate and repeat itself. Having Mann cover the classic song marries the old and the new, sounding like something that’s lingered for an indeterminate time but still aches like a fresh bruise. The Harry Nilsson track is a smart choice, establishing that no matter their twisty associations to one another, each is essentially isolated. “One is the loneliest number.” and Anderson announces his ensemble as a collection of “ones”. She's as much as character as everyone else, if a far more enlightened one. With the film’s religious themes and allegories, her omniscient voice makes Mann the film’s watchful angel, perhaps a messenger of God. The singularity of her voice repeated throughout helps streamline Anderson’s massively expansive vision, like a tidy bow pulling together the film’s many untidy pieces. Rarely is a film and musician as inextricable from one another as Paul Thomas Anderson’s Magnolia and Aimee Mann. GradeSaver, 18 April 2018 Web.With a new Paul Thomas Anderson film waiting in the wings, Chris looks at the music of Magnolia.
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Next Section Quotes Previous Section Glossary How To Cite in MLA Format Anonymous "Magnolia Themes". Will review the submission and either publish your submission or provide feedback. You can help us out by revising, improving and updatingĪfter you claim a section you’ll have 24 hours to send in a draft. Similarly, Anderson focuses on the trauma of Donnie's parents taking all of his money. Stanley is abused by his father as he demands his son do everything in order to better his life, not because he enjoys doing it. Claudia has suffered sexual abuse at the hands of her father. Trauma is a major part of this film - especially trauma caused in childhood and how it is affecting these characters in their present lives. Also important is Claudia's inability to trust either her father or herself. There is Linda's need to trust Phil to bring peace to him in his final hours, not to spark controversy with his son. There is Stanley's need to trust his father in a real way as his father is only using him. Trust is a theme seen in all of the characters in the film. There is a need for the parents to reconcile with their children for the trauma and pain that they've caused to their kids during the early stages of their life. This theme is one see between Earl and Frank as well as attempted by Jim with his daughter, Claudia. Written by people who wish to remain anonymous We are thankful for their contributions and encourage you to make your own.
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