'It is marvelous, it is nutty, it is so frustrated and actorly and heightened.' hunteryharris on the line from 'Magnolia' that plays on a loop in her head
Photo-Illustration: Vulture and New Line Cinema It’s impossible to describe what Magnolia is about, only how it’s about it: Paul Thomas Anderson’s dizzying San Fernando Valley opus sprawls over three hours. A dozen people have Big, Important Days, some of which, by the mysterious alchemy or coincidence or strangeness, intersect. It plays now just as weird and complicated and intense as it did upon release in 1999, a melodrama that “goes nowhere” by virtue of going everywhere.
In Magnolia, Julianne Moore plays Linda Partridge, the much-younger wife of a television executive dying of cancer. When we meet her, she’s weeping to one doctor, and then another, telling them about how hard it is to watch her husband ill and in pain. With one scribble on a prescription pad she vanishes out of their offices and gets back on the road. An hour into the movie, she takes her fistful of paper to a pharmacy.
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